Let not the reader think that I exclude from this estimate of contemporary drama the theatrical pieces I have myself incidentally written. I recognize them, as well as all the rest, as not having that religious character which must form the foundation of the drama of the future.
The drama, then, the most important branch of art, has, in our time, become the trivial and immoral amusement of a trivial and immoral crowd. The worst of it is, moreover, that to dramatic art, fallen as low as it is possible to fall, is still attributed an elevated significance no longer appropriate to it . Dramatists, actors, theatrical managers, and the press—this last publishing in the most serious tone reports of theaters and operas—and the rest, are all perfectly certain that they are doing something very worthy and important.
The drama in our time is a great man fallen, who has reached the last degree of his degradation, and at the same time continues to pride himself on his past of which nothing now remains. The public of our time is like those who mercilessly amuse themselves over this man once so great and now in the lowest stage of his fall.
