No More Learning

' When I wrote my _Countess
Cathleen_, I thought, of course, chiefly of the actual picture that
was forming before me, but there was a secondary meaning that came
into my mind continuously. 'It is the soul of one that loves Ireland,'
I thought, 'plunging into unrest, seeming to lose itself, to bargain
itself away to the very wickedness of the world, and to surrender what
is eternal for what is temporary,' and I know that this meaning seemed
natural to others, for that great orator, J. F. Taylor, who was not
likely to have searched very deeply into any work of mine, for he cared
little for mine, or, indeed, any modern work, turned the play into such
a parable in one of his speeches.

There is no use being angry with necessary conditions, or failing to
see that a man who is busy with some reform that can only be carried
out in a flame of energetic feeling, will not only be indifferent to
what seems to us the finer kind of thinking, but that he will support
himself by generalisations that seem untrue to the man of letters. A
little play, _The Rising of the Moon_, which is in the present number
of _Samhain_, and is among those we are to produce during the winter,
has, for instance, roused the suspicions of a very resolute leader of
the people, who has a keen eye for rats behind the arras. A Fenian
ballad-singer partly converts a policeman, and is it not unwise under
any circumstances to show a policeman in so favourable a light? It is
well known that many of the younger policemen were Fenians: but it is
necessary that the Dublin crowds should be kept of so high a heart
that they will fight the police at any moment. Are not morals greater
than literature? Others have objected to Mr. Synge's _Shadow of the
Glen_ because Irish women, being more chaste than those of England
and Scotland, are a valuable part of our national argument. Mr. Synge
should not, it is said by some, have chosen an exception for the
subject of his play, for who knows but the English may misunderstand
him? Some even deny that such a thing could happen at all, while others
that know the country better, or remember the statistics, say that it
could but should never have been staged. All these arguments, by their
methods even more than by what they have tried to prove, misunderstand
how literature does its work.
Men of letters have sometimes said that
the characters of a romance or of a play must be typical. They mean
that the character must be typical of something which exists in all
men because the writer has found it in his own mind. It is one of the
most inexplicable things about human nature that a writer, with a
strange temperament, an Edgar Allan Poe, let us say, made what he is by
conditions that never existed before, can create personages and lyric
emotions, which startle us by being at once bizarre and an image of
our own secret thoughts. Are we not face to face with the microcosm,
mirroring everything in universal nature? It is no more necessary
for the characters created by a romance writer, or a dramatist, to
have existed before, than for his own personality to have done so;
characters and personality alike, as is perhaps true in the instance
of Poe, may draw half their life not from the solid earth but from
some dreamy drug. This is true even of historical drama, for it was
Goethe, the founder of the historical drama of Germany, who said 'we
do the people of history the honour of naming after them the creations
of our own minds. ' All that a dramatic writer need do is to persuade
us, during the two hours' traffic of the stage, that the events of
his play did really happen. He must know enough of the life of his
country, or of history, to create this illusion, but no matter how
much he knows, he will fail if his audience is not ready to give up
something of the dead letter. If his mind is full of energy he will
not be satisfied with little knowledge, but he will be far more likely
to alter incidents and characters, wilfully even as it may seem, than
to become a literal historian. It was one of the complaints against
Shakespeare, in his own day, that he made Sir John Falstaff out of a
praiseworthy old Lollard preacher. One day, as he sat over Holinshed's
History of England, he persuaded himself that Richard the Second, with
his French culture, 'his too great friendliness to his friends,' his
beauty of mind, and his fall before dry, repelling Bolingbroke, would
be a good image for an accustomed mood of fanciful, impracticable
lyricism in his own mind. The historical Richard has passed away for
ever and the Richard of the play lives more intensely, it seems, than
did ever living man. Yet Richard the Second, as Shakespeare made him,
could never have been born before the Renaissance, before the Italian
influence, or even one hour before the innumerable streams that flowed
in upon Shakespeare's mind; the innumerable experiences we can never
know, brought Shakespeare to the making of him. He is typical not
because he ever existed, but because he has made us know of something
in our own minds we had never known of had he never been imagined.

Our propagandists have twisted this theory of the men of letters
into its direct contrary, and when they say that a writer should
make typical characters they mean personifications of averages, of
statistics, or even personified opinions, or men and women so faintly
imagined that there is nothing about them to separate them from the
crowd, as it appears to our hasty eyes. We must feel that we could
engage a hundred others to wear the same livery as easily as we could
engage a coachman.