INTRODUCTION[1]
The Spanish theatre has for so long been out of fashion that a revived interest in it would carry us into a sort of renaissance. It is not virgin soil, like the drama of the north which has so lately caught the ear of Europe. This, perhaps, accounts for its lack of distinctive originality. For even in Echegaray's notable plays, strong and original as they are, there is an unmistakable ring of the past. We feel it is more a revival than a youthful outburst, with all the promise of novelty. True, it is dominated by the modern need and its restless searching note; it must prove its mission as something more than the mere desire to divert. Not even a sermon could be more remote than this theatre from the old comedy of manners, of loose morals and diverting intrigue, all weighing as lightly on the dramatist's conscience as on the audience's. And it may be questioned if Echegaray, a professor of mathematics as well as a dramatist and poet, could be induced to accept Mr. Stevenson's well-known and not inappropriate classification of the artist as of the family of Daughters of Joy. His is no neutral voice between vice and virtue, concerned solely for the pleasure or
- ↑ Part of this introduction is reprinted from an article in the Contemporary Review, and my thanks are due to the publishers for the permission.
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