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Updated: May 19, 2025
Revolt sat easily upon his inherited aristocratic instincts no proletarian is quite so thorough a revolutionist as the born aristocrat, witness Nietzsche and Chopin, in the bloodless battle of the Romantics, in the silent warring of Slav against Teuton, Gaul and Anglo-Saxon, will ever stand as the protagonist of the artistic drama.
The protagonist is one of Arthur's knights, and the hero of the earlier version, Gawain, is more closely connected with Arthur than are his successors, Perceval and Galahad.
Each of these became the theme of extravagant eulogy and didactic preachments by Diderot, his literary protagonist, who hailed him as a French Hogarth making Virtue amiable and Vice odious. Madame Du Barry was much attracted by the latter picture and possessed a replica of it.
I have availed myself of the only alternative left, when I recognized the impossibility of rivalling this protagonist among the dramatis personae of the great Drama of English Fiction, and have done something of which he speaks very tenderly and delicately somewhere in his prolific writings, one's "best."
The Prime Minister, not the Chancellor of the Exchequer, now became the protagonist; and this was to Redmond's liking, for he felt that Mr. Asquith was more concerned with the problems which had occupied Gladstone's closing years and Mr. Lloyd George with those of a later day.
Lenin, for example, so far as I could judge, is not more concerned with the interests of Russia than with those of other countries; Russia is, at the moment, the protagonist of the social revolution, and, as such, valuable to the world, but Lenin would sacrifice Russia rather than the revolution, if the alternative should ever arise.
But the author doubtless felt that the reader's interest would be freshened by turning from the amorous adventures of Louisa to the daring deeds of Horatio, while a protagonist of each sex enabled her to exhibit at once examples of both male and female virtue.
Paracelsus is a great revolutionary spirit in an epoch of intellectual revolution; it is as much his task to destroy as to build up; he has broken with the past, and gazes with wild-eyed hopes into the future, expecting the era of intellectual liberty to dawn suddenly with the year One, and seeing in himself the protagonist of revolution.
This is no place, however, for a discussion of the aesthetic basis of tragedy in general. What is here required, from the point of view of craftsmanship, is not so much a glorification of the tragic ending, as a warning against its facile misuse. A very great play may, and often must, end in death; but you cannot make a play great by simply killing off your protagonist.
Like his protagonist Arthur Rimbaud surely the most extraordinary poetic apparition of the nineteenth century Jules Laforgue accomplished his destiny during the period when most poets are moulding their wings preparatory to flight. He flew in youth, flew moonward, for his patron goddess was Selene, he her faithful worshipper, a true lunalogue.
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