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Twelve Types by G. K. (Gilbert Keith) Chesterton
page 37 of 81 (45%)
high that at the end it seems to drown all the weak voices of the
characters in one crashing chorus of great things and great men. A
multitude of mottoes might be taken from the play to indicate and
illustrate, not only its own spirit, but much of the spirit of modern
life. When in the vision of the field of Wagram the horrible voices of
the wounded cry out, 'Les corbeaux, les corbeaux,' the Duke, overwhelmed
with a nightmare of hideous trivialities, cries out, 'Où, où sont les
aigles?' That antithesis might stand alone as an invocation at the
beginning of the twentieth century to the spirit of heroic comedy. When
an ex-General of Napoleon is asked his reason for having betrayed the
Emperor, he replies, 'La fatigue,' and at that a veteran private of the
Great Army rushes forward, and crying passionately, 'Et nous?' pours out
a terrible description of the life lived by the common soldier. To-day
when pessimism is almost as much a symbol of wealth and fashion as
jewels or cigars, when the pampered heirs of the ages can sum up life in
few other words but 'la fatigue,' there might surely come a cry from the
vast mass of common humanity from the beginning 'et nous?' It is this
potentiality for enthusiasm among the mass of men that makes the
function of comedy at once common and sublime. Shakespeare's 'Much Ado
about Nothing' is a great comedy, because behind it is the whole
pressure of that love of love which is the youth of the world, which is
common to all the young, especially to those who swear they will die
bachelors and old maids. 'Love's Labour Lost' is filled with the same
energy, and there it falls even more definitely into the scope of our
subject since it is a comedy in rhyme in which all men speak lyrically
as naturally as the birds sing in pairing time. What the love of love is
to the Shakespearian comedies, that other and more mysterious human
passion, the love of death, is to 'L'Aiglon.' Whether we shall ever have
in England a new tradition of poetic comedy it is difficult at present
to say, but we shall assuredly never have it until we realise that
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