25.– Finished the last dialogue between Silva and Fedalma. Mr. and Mrs. Burne Jones dined with us.
April 29.– Finished "The Spanish Gypsy."
Letter to John Blackwood, 29th Aug. 1868.
I send you by to-day's post the conclusion of the poem in MS., and the eighteen sheets of revise. The last book is brief, but I may truly use the old epigram – that it would have taken less time to make it longer. It is a great bore that the name of my heroine is wrongly spelled in all the earlier sheets. It is a fresh proof of the fallibility of our impressions as to our own doings, that I would have confidently affirmed the name to be spelled Fedalma (as it ought to be) in my manuscript. Yet I suppose I should have affirmed falsely, for the i occurs in the slips constantly.
As I shall not see these paged sheets again, will you charitably assure me that the alterations are safely made?
Among my wife's papers were four or five pages of MS. headed, "Notes on the Spanish Gypsy and Tragedy in General." There is no evidence as to the date at which this fragment was written, and it seems to have been left unfinished. But there was evidently some care to preserve it; and as I think she would not have objected to its presentation, I give it here exactly as it stands. It completes the history of the poem.
Notes on "The Spanish Gypsy."
The subject of "The Spanish Gypsy" was originally suggested to me by a picture which hangs in the Scuola di' San Rocco at Venice, over the door of the large Sala containing Tintoretto's frescoes. It is an Annunciation, said to be by Titian. Of course I had seen numerous pictures of this subject before; and the subject had always attracted me. But in this my second visit to the Scuola di' San Rocco, this small picture of Titian's, pointed out to me for the first time, brought a new train of thought. It occurred to me that here was a great dramatic motive of the same class as those used by the Greek dramatists, yet specifically differing from them. A young maiden, believing herself to be on the eve of the chief event of her life – marriage – about to share in the ordinary lot of womanhood, full of young hope, has suddenly announced to her that she is chosen to fulfil a great destiny, entailing a terribly different experience from that of ordinary womanhood. She is chosen, not by any momentary arbitrariness, but as a result of foregoing hereditary conditions: she obeys. "Behold the handmaid of the Lord." Here, I thought, is a subject grander than that of Iphigenia, and it has never been used. I came home with this in my mind, meaning to give the motive a clothing in some suitable set of historical and local conditions. My reflections brought me nothing that would serve me except that moment in Spanish history when the struggle with the Moors was attaining its climax, and when there was the gypsy race present under such conditions as would enable me to get my heroine and the hereditary claim on her among the gypsies. I required the opposition of race to give the need for renouncing the expectation of marriage. I could not use the Jews or the Moors, because the facts of their history were too conspicuously opposed to the working-out of my catastrophe. Meanwhile the subject had become more and more pregnant to me. I saw it might be taken as a symbol of the part which is played in the general human lot by hereditary conditions in the largest sense, and of the fact that what we call duty is entirely made up of such conditions; for even in cases of just antagonism to the narrow view of hereditary claims, the whole background of the particular struggle is made up of our inherited nature. Suppose for a moment that our conduct at great epochs was determined entirely by reflection, without the immediate intervention of feeling, which supersedes reflection, our determination as to the right would consist in an adjustment of our individual needs to the dire necessities of our lot, partly as to our natural constitution, partly as sharers of life with our fellow-beings. Tragedy consists in the terrible difficulty of this adjustment —
"The dire strife of poor Humanity's afflicted will,
Struggling in vain with ruthless destiny."
Looking at individual lots, I seemed to see in each the same story, wrought out with more or less of tragedy, and I determined the elements of my drama under the influence of these ideas.
In order to judge properly of the dramatic structure it must not be considered first in the light of doctrinal symbolism, but in the light of a tragedy representing some grand collision in the human lot. And it must be judged accordingly. A good tragic subject must represent a possible, sufficiently probable, not a common, action; and to be really tragic, it must represent irreparable collision between the individual and the general (in differing degrees of generality). It is the individual with whom we sympathize, and the general of which we recognize the irresistible power. The truth of this test will be seen by applying it to the greatest tragedies. The collision of Greek tragedy is often that between hereditary, entailed Nemesis and the peculiar individual lot, awakening our sympathy, of the particular man or woman whom the Nemesis is shown to grasp with terrific force. Sometimes, as in the Oresteia, there is the clashing of two irreconcilable requirements, two duties, as we should say in these times. The murder of the father must be avenged by the murder of the mother, which must again be avenged. These two tragic relations of the individual and general, and of two irreconcilable "oughts," may be – will be – seen to be almost always combined. The Greeks were not taking an artificial, entirely erroneous standpoint in their art – a standpoint which disappeared altogether with their religion and their art. They had the same essential elements of life presented to them as we have, and their art symbolized these in grand schematic forms. The Prometheus represents the ineffectual struggle to redeem the small and miserable race of man, against the stronger adverse ordinances that govern the frame of things with a triumphant power. Coming to modern tragedies, what is it that makes Othello a great tragic subject? A story simply of a jealous husband is elevated into a most pathetic tragedy by the hereditary conditions of Othello's lot, which give him a subjective ground for distrust. Faust, Rigoletto (Le Roi s'Amuse), Brutus. It might be a reasonable ground of objection against the whole structure of "The Spanish Gypsy" if it were shown that the action is outrageously improbable – lying outside all that can be congruously conceived of human actions. It is not a reasonable ground of objection that they would have done better to act otherwise, any more than it is a reasonable objection against the Iphigenia that Agamemnon would have done better not to sacrifice his daughter.
As renunciations coming under the same great class, take the renunciation of marriage, where marriage cannot take place without entailing misery on the children.
A tragedy has not to expound why the individual must give way to the general; it has to show that it is compelled to give way; the tragedy consisting in the struggle involved, and often in the entirely calamitous issue in spite of a grand submission. Silva presents the tragedy of entire rebellion; Fedalma of a grand submission, which is rendered vain by the effects of Silva's rebellion. Zarca, the struggle for a great end, rendered vain by the surrounding conditions of life.
Now, what is the fact about our individual lots? A woman, say, finds herself on the earth with an inherited organization; she may be lame, she may inherit a disease, or what is tantamount to a disease; she may be a negress, or have other marks of race repulsive in the community where she is born, etc. One may go on for a long while without reaching the limits of the commonest inherited misfortunes. It is almost a mockery to say to such human beings, "Seek your own happiness." The utmost approach to well-being that can be made in such a case is through large resignation and acceptance of the inevitable, with as much effort to overcome any disadvantage as good sense will show to be attended with a likelihood of success. Any one may say, that is the dictate of mere rational reflection. But calm can, in hardly any human organism, be attained by rational reflection. Happily, we are not left to that. Love, pity, constituting sympathy, and generous joy with regard to the lot of our fellow-men comes in – has been growing since the beginning – enormously enhanced by wider vision of results, by an imagination actively interested in the lot of mankind generally; and these feelings become piety —i. e., loving, willing submission and heroic Promethean effort towards high possibilities, which may result from our individual life.
There
