Emotion of Multitude.
EMOTION OF MULTITUDE
I have been thinking a good deal about plays lately, and I have been wondering why I dislike the clear and logical construction which seems necessary if one is to succeed on the Modern Stage. It came into my head the other day that this construction, which all the world has learnt from France, has everything of high literature except the emotion of multitude. The Greek drama has got the emotion of multitude from its chorus, which called up famous sorrows, long-leaguered Troy, much-enduring Odysseus, and all the gods and heroes to witness, as it were, some well-ordered fable, some action separated but for this from all but itself. The French play delights in the well-ordered fable, but by leaving out the chorus it has created an art where poetry and imagination, always the children of far-off multitudinous things, must of necessity grow less important than the mere will. This
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