No More Learning

When one takes a book
into the corner, one surrenders so much life for one's knowledge, so
much, I mean, of that normal activity that gives one life and strength,
one lays away one's own handiwork and turns from one's friend, and
if the book is good one is at some pains to press all the little
wanderings and tumults of the mind into silence and quiet. If the
reader be poor, if he has worked all day at the plough or the desk,
he will hardly have strength enough for any but a meretricious book;
nor is it only when the book is on the knees that one's life must be
given for it. For a good and sincere book needs the preparation of the
peculiar studies and reveries that prepare for good taste, and make it
easier for the mind to find pleasure in a new landscape; and all these
reveries and studies have need of so much time and thought that it is
almost certain a man cannot be a successful doctor, or engineer, or
Cabinet Minister, and have a culture good enough to escape the mockery
of the ragged art student who comes of an evening sometimes to borrow
a half-sovereign. The old culture came to a man at his work; it was
not at the expense of life, but an exaltation of life itself; it came
in at the eyes as some civic ceremony sailed along the streets, or as
one arrayed oneself before the looking-glass, or it came in at the ears
in a song as one bent over the plough or the anvil, or at that great
table where rich and poor sat down together and heard the minstrel
bidding them pass around the wine-cup and say a prayer for Gawain dead.
Certainly it came without a price; it did not take one from one's
friends and one's handiwork; but it was like a good woman who gives all
for love and is never jealous and is ready to do all the talking when
we are tired.

How the old is to come again, how the other side of the penny is to
come up, how the spit is to turn the other side of the meat to the
fire, I do not know, but that the time will come I am certain; when one
kind of desire has been satisfied for a long time it becomes sleepy,
and other kinds, long quiet, after making a noise begin to order life.
Of the many things, desires or powers or instruments, that are to
change the world, the artist is fitted to understand but two or three,
and the less he troubles himself about the complexity that is outside
his craft, the more will he find it all within his craft, and the more
dexterous will his hand and his thought become. I am trying to see
nothing in the world but the arts, and nothing in this change--which one
cannot prove but only foretell--but the share my own art will have in it.

III

One thing is entirely certain. Wherever the old imaginative life
lingers it must be stirred into life, and kept alive, and in Ireland
this is the work, it may be, of the Gaelic movement. But the nineteenth
century, with its moral zeal, its insistence upon irrelevant interests,
having passed over, the artist can admit that he cares about nothing
that does not give him a new subject or a new technique. Propaganda
would be for him a dissipation, but he may compare his art, if he has a
mind to, with the arts that belonged to a whole people, and discover,
not how to imitate the external form of an epic or a folk-song, but
how to express in some equivalent form whatever in the thoughts of his
own age seem, as it were, to press into the future. The most obvious
difference is that when literature belonged to a whole people, its
three great forms, narrative, lyrical and dramatic, found their way to
men's minds without the mediation of print and paper. That narrative
poetry may find its minstrels again, and lyrical poetry adequate
singers, and dramatic poetry adequate players, he must spend much of
his time with these three lost arts, and the more technical is his
interest the better. When I first began working in Ireland at what some
newspaper has called the Celtic Renaissance, I saw that we had still
even in English a sufficient audience for song and speech.
Certain
of our young men and women, too restless and sociable to be readers,
had amongst them an interest in Irish legend and history, and years
of imaginative politics had kept them from forgetting, as most modern
people have, how to listen to serious words. I always saw that some
kind of theatre would be a natural centre for a tradition of feeling
and thought, but that it must--and this was its chief opportunity--appeal
to the interest appealed to by lively conversation or by oratory.
In other words, that it must be made for young people who were
sufficiently ignorant to refuse a pound of flesh even though the Nine
Worthies offered their wisdom in return. They are not, perhaps, very
numerous, for they do not include the thousands of conquered spirits
who in Dublin, as elsewhere, go to see _The Girl from Kay's_, or when
Mr. Tree is upon tour, _The Girl from Prospero's Island_; and the
peasant in Ireland, as elsewhere, has not taken to the theatre, and
can, I think, be moved through Gaelic only.

If one could get them, I thought, one could draw to oneself the
apathetic people who are in every country, and people who don't know
what they like till somebody tells them. Now, a friend has given me
that theatre. It is not very big, but it is quite big enough to seat
those few thousands and their friends in a seven days' run of a new
play; and I have begun my real business. I have to find once again
singers, minstrels, and players who love words more than any other
thing under heaven, for without fine words there is no literature.

IV

I will say but a little of dramatic technique, as I would have it in
this theatre of speech, of romance, of extravagance, for I have written
of all that so many times. In every art, when it seems to one that it
has need of a renewing of life, one goes backwards till one lights upon
a time when it was nearer to human life and instinct, before it had
gathered about it so many mechanical specialisations and traditions.
One examines that earlier condition and thinks out its principles of
life, and one may be able to separate accidental from vital things.
William Morris, for instance, studied the earliest printing, the founts
of type that were made when men saw their craft with eyes that were
still new, and with leisure, and without the restraints of commerce
and custom. And then he made a type that was really new, that had
the quality of his own mind about it, though it reminds one of its
ancestry, of its high breeding as it were. Coleridge and Wordsworth
were influenced by the publication of Percy's _Reliques_ to the making
of a simplicity altogether unlike that of old ballad-writers. Rossetti
went to early Italian painting, to Holy Families and choirs of angels,
that he might learn how to express an emotion that had its roots in
sexual desire and in the delight of his generation in fine clothes and
in beautiful rooms.