In the preface to Cromwell of 1827-28, Hugo serves as spokesman for the Romantic movement in attacking classical drama and in laying down the precepts of the new drama to be. He condemns the rigidity of both classical format and language: the unities of time, scene, and action, and the false and formal elegance of speech. He calls for a richer and more flexible verse, which will more closely approximate the rhythm of everyday speech, and a more flexible format, which will allow comedy and tragedy to mingle in Shakespearean fashion, just as they do in life itself. Weary of the eternal Greek kings and Roman heroes of the classical stage, he suggests that more recent history may also provide suitable themes for drama and that a bourgeois or a bandit may also sometimes possess enough nobility to transform a stage.
These precepts he exemplified in his own plays, some of which are in prose as well as in verse and which generally deal with some dramatic episode from European history. The subjects of Marie Tudor and Lucrezia Borgia are self-explanatory. Hernani, which quite literally caused a riot at its first performance, sets at odds a noble Spanish bandit and Charles V, Emperor of Spain; in Ruy Blas, a valet, through the love of a queen, temporarily becomes head of state.
We cannot today appreciate Hugo's plays as wholeheartedly as did his contemporaries. His plots, with their disguises and recognitions, seem a little too melodramatic; his daring adventurers and his perfect, passionate, unattainable heroines are two-dimensional. Nevertheless, particularly in their historical accuracy of incident and decor, they represent a great stride toward realism in the drama; in the stage's own terms, some of them are still "marvelous theater."
