But it by no means follows that either has declined. All seem to
have declined, because they have remained stationary while the
multitudinous other arts (of reason) have flitted so rapidly by
them. In the same manner the traveller by railroad can imagine that
the trees by the wayside are retrograding. The trees in this case
are absolutely stationary but the Drama has not been altogether so,
although its progress has been so slight as not to interfere with
the general effect- that of seeming retrogradation or decline.
This seeming retrogradation, however, is to all practical intents an
absolute one. Whether the Drama has declined, or whether it has merely
remained stationary, is a point of no importance, so far as concerns
the public encouragement of the Drama. It is unsupported, in either
case, because it does not deserve support.
But if this stagnation, or deterioration, grows out of the very
idiosyncracy of the drama itself, as one of the principal of the
imitative arts, how is it possible that a remedy shall be applied-
since it is clearly impossible to alter the nature of the art, and yet
leave it the art which it now is?
We have already spoken of the improvements effected in Architecture,
in all its utilitarian departments, and in the Drama, at all the
points of its mechanism. "Wherever Reason predominates, we advance;
where mere Feeling or Taste is the guide, we remain as we are.
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