No More Learning

What is there left for us,
that have seen the newly-discovered stability of things changed from an
enthusiasm to a weariness, but to labour with a high heart, though it
may be with weak hands, to rediscover an art of the theatre that shall
be joyful, fantastic, extravagant, whimsical, beautiful, resonant, and
altogether reckless? The arts are at their greatest when they seek for
a life growing always more scornful of everything that is not itself
and passing into its own fulness, as it were, ever more completely, as
all that is created out of the passing mode of society slips from it;
and attaining that fulness, perfectly it may be--and from this is tragic
joy and the perfectness of tragedy--when the world itself has slipped
away in death. We, who are believers, cannot see reality anywhere but
in the soul itself, and seeing it there we cannot do other than rejoice
in every energy, whether of gesture, or of action, or of speech, coming
out of the personality, the soul's image, even though the very laws of
nature seem as unimportant in comparison as did the laws of Rome to
Coriolanus when his pride was upon him. Has not the long decline of the
arts been but the shadow of declining faith in an unseen reality?

'If the sun and moon would doubt,
They'd immediately go out. '

_Second. _ If we are to make a drama of energy, of extravagance, of
phantasy, of musical and noble speech, we shall need an appropriate
stage management. Up to a generation or two ago, and to our own
generation, here and there, lingered a method of acting and of
stage-management, which had come down, losing much of its beauty
and meaning on the way, from the days of Shakespeare. Long after
England, under the influence of Garrick, began the movement towards
Naturalism, this school had a great popularity in Ireland, where it
was established at the Restoration by an actor who probably remembered
the Shakespearean players. France has inherited from Racine and from
Moliere an equivalent art, and, whether it is applied to comedy
or to tragedy, its object is to give importance to the words. It
is not only Shakespeare whose finest thoughts are inaudible on the
English stage. Congreve's _Way of the World_ was acted in London last
Spring, and revived again a month ago, and the part of Lady Wishfort
was taken by a very admirable actress, an actress of genius who has
never had the recognition she deserves. There is a scene where Lady
Wishfort turns away a servant with many words. She cries--'Go, set up
for yourself again, do; drive a trade, do, with your three pennyworth
of small ware, flaunting upon a packthread under a brandy-seller's
bulk, or against a dead wall by a ballad-monger; go, hang out an old
frisoneer-gorget, with a yard of yellow colberteen again, do; an old
gnawed mask, two rows of pins, and a child's fiddle; a glass necklace
with the beads broken, and a quilted nightcap with one ear. Go, go,
drive a trade.
' The conversation of an older time, of Urquhart, the
translator of Rabelais, let us say, awakes with a little of its old
richness. The actress acted so much and so admirably that when she
first played it--I heard her better a month ago, perhaps because I
was nearer to the stage--I could not understand a word of a passage
that required the most careful speech. Just as the modern musician,
through the over-development of an art that seems exterior to the
poet, writes so many notes for every word that the natural energy of
speech is dissolved and broken and the words made inaudible, so did
this actress, a perfect mistress of her own art, put into her voice so
many different notes, so run up and down the scale under an impulse of
anger and scorn, that one had hardly been more affronted by a musical
setting. Everybody who has spoken to large audiences knows that he must
speak difficult passages, in which there is some delicacy of sound
or of thought, upon one or two notes. The larger his audience, the
more he must get away, except in trivial passages, from the methods
of conversation. Where one requires the full attention of the mind,
one must not weary it with any but the most needful changes of pitch
and note, or by an irrelevant or obtrusive gesture. As long as drama
was full of poetical beauty, full of description, full of philosophy,
as long as its words were the very vesture of sorrow and laughter,
the players understood that their art was essentially conventional,
artificial, ceremonious.

The stage itself was differently shaped, being more a platform than
a stage, for they did not desire to picture the surface of life, but
to escape from it. But realism came in, and every change towards
realism coincided with a decline in dramatic energy. The proscenium
was imported into England at the close of the seventeenth century,
appropriate costumes a generation later. The audience were forbidden to
sit upon the stage in the time of Sheridan, the last English-speaking
playwright whose plays have lived. And the last remnant of the
platform, the part of the stage that still projected beyond the
proscenium, dwindled in size till it disappeared in their own day.
The birth of science was at hand, the birth-pangs of its mother had
troubled the world for centuries. But now that Gargantua is born at
last, it may be possible to remember that there are other giants.

We can never bring back old things precisely as they were, but must
consider how much of them is necessary to us, accepting, even if it
were only out of politeness, something of our own time. The necessities
of a builder have torn from us, all unwilling as we were, the apron, as
the portion of the platform that came in front of the proscenium used
to be called, and we must submit to the picture-making of the modern
stage.