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The Wellesley Magazine, Vol. 1

Excerpt from The Wellesley Magazine, Vol. 1: December 17, 1892 The romantic movement was neither led nor sustained by great dramatists, and it is doubtful whether the plays which mark its advent will long survive now that the enmity of the classicists has ceased to attract by its abuse the attention of the public. The best of its writers are better. At the novel than the drama, and it is only by their spirit and ingenuity that they claim the public ear. They are melo-dramatic in tone, and cannot be called great dramatic poets. Having scandalized the French drama out of its grotesque proprieties, they have performed their task, and, like Samson, they die with their enemies. The pillars which support the classic temple of fame are broken by, them, and descend on their own heads, felling romanticism with their weight; While of the levelled ruins is formed a new stage - so broad as to find room for Sardou and the younger Dumas side by side with Daudet and Augier; so low, shall we say, as to offer a place even to Octave Feuillet and Georges Ohnet; so strong, shall we predict, as to bear up under the thunderous tread of the naturalists, headed by the robust and relentless analyst of the passions of men - Emile Zola. The classicists preached a gospel of form, the romanticists elevated passion to the pedestal of worship, slighting not only convention but consistency and common sense. The realists came next in order, and were as energetic to repudiate the fetish of romanticism as the preceding school had been to Spurn the classic gods. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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