No More Learning

'
The costumes will be magnificent, the actresses will be beautiful,
the Castle in Spain will be painted by an artist upon the spot. We
will come from his play excited if we are foolish, or can condescend
to the folly of others, but knowing nothing new about ourselves, and
seeing life with no new eyes and hearing it with no new ears. The whole
movement of theatrical reform in our day has been a struggle to get
rid of this kind of play, and the sincere play, the logical play, that
we would have in its place, will always seem, when we hear it for the
first time, undramatic, unexciting. It has to stir the heart in a long
disused way, it has to awaken the intellect to a pleasure that ennobles
and wearies. I was at the first performance of an Ibsen play given in
England. It was _The Doll's House_, and at the fall of the curtain I
heard an old dramatic critic say, 'It is but a series of conversations
terminated by an accident. ' So far, we here in Dublin mean the same
thing as do Mr. Max Beerbohm, Mr. Walkley, and Mr. Archer, who are
seeking to restore sincerity to the English stage, but I am not certain
that we mean the same thing all through. The utmost sincerity, the most
unbroken logic, give me, at any rate, but an imperfect pleasure if
there is not a vivid and beautiful language. Ibsen has sincerity and
logic beyond any writer of our time, and we are all seeking to learn
them at his hands; but is he not a good deal less than the greatest
of all times, because he lacks beautiful and vivid language? 'Well,
well, give me time and you shall hear all about it. If only I had Peter
here now,' is very like life, is entirely in its place where it comes,
and when it is united to other sentences exactly like itself, one is
moved, one knows not how, to pity and terror, and yet not moved as if
the words themselves could sing and shine. Mr.
Max Beerbohm wrote once
that a play cannot have style because the people must talk as they
talk in daily life. He was thinking, it is obvious, of a play made out
of that typically modern life where there is no longer vivid speech.
Blake says that a work of art must be minutely articulated by God or
man, and man has too little help from that occasional collaborateur
when he writes of people whose language has become abstract and dead.
Falstaff gives one the sensation of reality, and when one remembers the
abundant vocabulary of a time when all but everything present to the
mind was present to the senses, one imagines that his words were but
little magnified from the words of such a man in real life. Language
was still alive then, alive as it is in Gaelic to-day, as it is in
English-speaking Ireland where the Schoolmaster or the newspaper has
not corrupted it. I know that we are at the mere beginning, laboriously
learning our craft, trying our hands in little plays for the most
part, that we may not venture too boldly in our ignorance; but I never
hear the vivid, picturesque, ever-varied language of Mr. Synge's
persons without feeling that the great collaborateur has his finger
in our business. May it not be that the only realistic play that will
live as Shakespeare has lived, as Calderon has lived, as the Greeks
have lived, will arise out of the common life, where language is as
much alive as if it were new come out of Eden? After all, is not the
greatest play not the play that gives the sensation of an external
reality but the play in which there is the greatest abundance of life
itself, of the reality that is in our minds? Is it possible to make
a work of art, which needs every subtlety of expression if it is to
reveal what hides itself continually, out of a dying, or at any rate
a very ailing language? and all language but that of the poets and of
the poor is already bed-ridden. We have, indeed, persiflage, the only
speech of educated men that expresses a deliberate enjoyment of words:
but persiflage is not a true language. It is impersonal; it is not in
the midst but on the edge of life; it covers more character than it
discovers: and yet, such as it is, all our comedies are made out of it.

What the ever-moving delicately-moulded flesh is to human beauty, vivid
musical words are to passion. Somebody has said that every nation
begins with poetry and ends with algebra, and passion has always
refused to express itself in algebraical terms.

Have we not been in error in demanding from our playwrights personages
who do not transcend our common actions any more than our common
speech?