Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: A Note on Tragedy It has been said many times, and always with an air of authority, that there is no tragedy in the modern drama. And since tragedy, in the minds of most educated people, is hazily but quite firmly connected with the mishaps of noble and mythical personages, the statement has been widely accepted as true. Thus very tawdry Shakespearean revivals are received with a traditional reverence for the sternest and noblest of all the art-forms that is consciously withheld from Ghosts or Justice or The Weavers. Placid people in college towns consider these plays painful. They hasten to pay their respects to awkward chantings of Gilbert Murray's Swinburnian verses and approve the pleasant mildness of the pity and terror native to the Attic stage. The very innocuousness of these entertainments as well as the pain that Ibsen and Hauptmann inflict should give them pause. Pity and terror are strong words and stand for strong things. But our public replies in the comfortable words of its most respectable critics that tragedy has ceased to be written. These critics reveal a noteworthy state of mind. They are aware that tragedy cuts to the quick of life and springs from the innermost depth of human thinking because it must always seek to deal in someintelligible way with the problem of evil. But since it is most comfortable to believe that problem to have been solved, they avert their faces from a reopening of the eternal question and declare that the answer of the Greeks and the Elizabethans is final. They are also aware, though more dimly, that all tragedy involves moral judgments. And since they are unaccustomed to make such judgments, except by the light of standards quite rigid and quite antecedent to experience, they are bewildered by a type of tragic drama that transfer...