No More Learning

He is the youngest of us all by many years, and we are all
proud to foresee his future.

I think that a race or a nation or a phase of life has but few dramatic
themes, and that when these have been once written well they must
afterwards be written less and less well until one gets at last but
'Soulless self-reflections of man's skill. ' The first man writes
what it is natural to write, the second man what is left to him, for
the imagination cannot repeat itself. The hoydenish young woman,
the sentimental young woman, the villain and the hero alike ever
self-possessed, of contemporary drama, were once real discoveries, and
one can trace their history through the generations like a joke or a
folk-tale, but, unlike these, they grow always less interesting as they
get farther from their cradle. Our opportunity in Ireland is not that
our playwrights have more talent, it is possible that they have less
than the workers in an old tradition, but that the necessity of putting
a life that has not hitherto been dramatised into their plays excludes
all these types which have had their origin in a different social order.

An audience with National feeling is alive, at the worst it is alive
enough to quarrel with. One man came up from the scene of Lady
Gregory's _Kincora_ at Killaloe that he might see her play, and having
applauded loudly, and even cheered for the Dalcassians, became silent
and troubled when Brian took Gormleith for his wife. 'It is a great
pity,' he said to a man next to him, 'that he didn't marry a quiet
girl from his own district. ' Some have quarrelled with me because I
did not take some glorious moment of Cuchulain's life for my play, and
not the killing of his son, and all our playwrights have been attacked
for choosing bad characters instead of good, and called slanderers of
their country. In so far as these attacks come from National feeling,
that is to say, out of an interest or an affection for the life of this
country now and in past times, as did the countryman's trouble about
Gormleith, they are in the long run the greatest help to a dramatist,
for they give him something to startle or to delight. Every writer has
had to face them where his work has aroused a genuine interest. The
Germans at the beginning of the nineteenth century preferred Schiller
to Goethe, and thought him the greater writer, because he put nobler
characters into his books; and when Chaucer met Eros walking in the
month of May, that testy god complains that though he had 'sixty
bookkes olde and newe,' and all full of stories of women and the life
they led, and though for every bad woman there are a hundred good, he
has chosen to write only of the bad ones. He complains that Chaucer
by his _Troilus_ and his _Romaunt of the Rose_ has brought love and
women to discredit. It is the same in painting as in literature, for
when a new painter arises men cry out, even when he is a painter of
the beautiful like Rossetti, that he has chosen the exaggerated or the
ugly or the unhealthy, forgetting that it is the business of art and
of letters to change the values and to mint the coinage. Without this
outcry there is no movement of life in the arts, for it is the sign of
values not yet understood, of a coinage not yet mastered.
Sometimes
the writer delights us, when we grow to understand him, with new forms
of virtue discovered in persons where one had not hitherto looked for
it, and sometimes, and this is more and more true of modern art, he
changes the values not by the persons he sets before one, who may be
mean enough, but by his way of looking at them, by the implications
that come from his own mind, by the tune they dance to as it were.
Eros, into whose mouth Chaucer, one doubts not, puts arguments that he
had heard from his readers and listeners, objected to Chaucer's art in
the interests of pedantic mediaeval moralising; the contemporaries of
Schiller commended him for reflecting vague romantic types from the
sentimental literature of his predecessors; and those who object to the
peasant as he is seen in the Abbey Theatre have their imaginations full
of what is least observant and most sentimental in the Irish novelists.
When I was a boy I spent many an afternoon with a village shoemaker who
was a great reader. I asked him once what Irish novels he liked, and
he told me there were none he could read, 'They sentimentalised the
people,' he said angrily; and it was against Kickham that he complained
most. 'I want to see the people,' he said, 'shown up in their naked
hideousness. ' That is the peasant mind as I know it, delight in strong
sensations whether of beauty or of ugliness, in bare facts, and quite
without sentimentality. The sentimental mind is the bourgeois mind, and
it was this mind which came into Irish literature with Gerald Griffin
and later on with Kickham.

It is the mind of the town, and it is a delight to those only who have
seen life, and above all country life, with unobservant eyes, and
most of all to the Irish tourist, to the patriotic young Irishman who
goes to the country for a month's holiday with his head full of vague
idealisms. It is not the art of Mr. Colum, born of the people, and
when at his best looking at the town and not the country with strange
eyes, nor the art of Mr. Synge spending weeks and months in remote
places talking Irish to fishers and islanders. I remember meeting,
about twenty years ago, a lad who had a little yacht at Kingstown.
Somebody was talking of the sea paintings of a great painter, Hook,
I think, and this made him very angry. No yachtsman believed in them
or thought them at all like the sea, he said. Indeed, he was always
hearing people praise pictures that were not a bit like the sea, and
thereupon he named certain of the greatest painters of water--men who
more than all others had spent their lives in observing the effects
of light upon cloud and wave. I met him again the other day, well
on in middle life, and though he is not even an Irishman, indignant
with Mr.