The Cutting of an Agate
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A good many of our audience, when the curtain went up in the old ball-room, were drunk, but all were attentive, for they had a great deal of respect for my friend, and there were other priests there. Presently the man at the door opposite to the stage strayed off somewhere and I took his place, and when boys came up offering two or three pence and asking to be let into the sixpenny seats, I let them join the melancholy crowd. The play professed to tell of the heroic life of ancient Ireland, but was really full of sedentary refinement and the spirituality of cities. Every emotion was made as dainty-footed and dainty-fingered as might be, and a love and pathos where passion had faded into sentiment, emotions of pensive and harmless people, drove shadowy young men through the shadows of death and battle. I watched it with growing rage. It was not my own work, but I have sometimes watched my own work with a rage made all the more salt in the mouth from being half despair. Why should we make so much noise about ourselves and yet have nothing to say that was not better said in that workhouse dormitory, where a few flowers and a few coloured counterpanes and the coloured walls had made a severe and gracious beauty? Presently the play was changed and our comedian began to act a little farce, and when I saw him struggle to wake into laughter an audience out of whom the life had run as if it were water, I rejoiced, as I had over that broken window-pane. Here was something secular, abounding, even a little vulgar, for he was gagging horribly, condescending to his audience, though not without contempt.
We had supper in the priest’s house, and a government official who had come down from Dublin, partly out of interest in this attempt ‘to educate the people,’ and partly because it was his holiday and it was necessary to go somewhere, entertained us with little jokes. Somebody, not, I think, a priest, talked of the spiritual destiny of our race and praised the night’s work, for the play was refined and the people really very attentive, and he could not understand my discontent; but presently he was silenced by the patter of jokes.
I had my breakfast by myself the next morning, for the players had got up in the middle of the night and driven some ten miles to catch an early train to Dublin, and were already on their way to their shops and offices. I had brought the visitors’ book of the hotel, to turn over its pages while waiting for my bacon and eggs, and found several pages full of obscenities, scrawled there some two or three weeks before, by Dublin visitors, it seemed, for a notorious Dublin street was mentioned. Nobody had thought it worth his while to tear out the page or blacken out the lines, and as I put the book away impressions that had been drifting through my mind for months rushed up into a single thought. ‘If we poets are to move the people, we must reintegrate the human spirit in our imagination. The English have driven away the kings, and turned the prophets into demagogues, and you cannot have health among a people if you have not prophet, priest and king.’
PERSONALITY AND THE INTELLECTUAL ESSENCES
My work in Ireland has continually set this thought before me: ‘How can I make my work mean something to vigorous and simple men whose attention is not given to art but to a shop, or teaching in a National School, or dispensing medicine?’ I had not wanted to ‘elevate them’ or ‘educate them,’ as these words are understood, but to make them understand my vision, and I had not wanted a large audience, certainly not what is called a national audience, but enough people for what is accidental and temporary to lose itself in the lump. In England, where there have been so many changing activities and so much systematic education, one only escapes from crudities and temporary interests among students, but here there is the right audience, could one but get its ears. I have always come to this certainty: what moves natural men in the arts is what moves them in life, and that is, intensity of personal life, intonations that show them in a book or a play, the strength, the essential moment of a man who would be exciting in the market or at the dispensary door. They must go out of the theatre with the strength they live by strengthened with looking upon some passion that could, whatever its chosen way of life, strike down an enemy, fill a long stocking with money or move a girl’s heart. They have not much to do with the speculations of science, though they have a little, or with the speculations of metaphysics, though they have a little. Their legs will tire on the road if there is nothing in their hearts but vague sentiment, and though it is charming to have an affectionate feeling about flowers, that will not pull the cart out of the ditch. An exciting person, whether the hero of a play or the maker of poems, will display the greatest volume of personal energy, and this energy must seem to come out of the body as out of the mind. We must say to ourselves continually when we imagine a character: ‘Have I given him the roots, as it were, of all faculties necessary for life?’ And only when one is certain of that may one give him the one faculty that fills the imagination with joy. I even doubt if any play had ever a great popularity that did not use, or seem to use, the bodily energies of its principal actor to the full. Villon the robber could have delighted these Irishmen with plays and songs, if he and they had been born to the same traditions of word and symbol, but Shelley could not; and as men came to live in towns and to read printed books and to have many specialised activities, it has become more possible to produce Shelleys and less and less possible to produce Villons. The last Villon dwindled into Robert Burns because the highest faculties had faded, taking the sense of beauty with them, into some sort of vague heaven and left the lower to lumber where they best could. In literature, partly from the lack of that spoken word which knits us to normal man, we have lost in personality, in our delight in the whole man – blood, imagination, intellect, running together – but have found a new delight, in essences, in states of mind, in pure imagination, in all that comes to us most easily in elaborate music. There are two ways before literature – upward into ever-growing subtlety, with Verhaeren, with Mallarmé, with Maeterlinck, until at last, it may be, a new agreement among refined and studious men gives birth to a new passion, and what seems literature becomes religion; or downward, taking the soul with us until all is simplified and solidified again. That is the choice of choices – the way of the bird until common eyes have lost us, or to the market carts; but we must see to it that the soul goes with us, for the bird’s song is beautiful, and the traditions of modern imagination, growing always more musical, more lyrical, more melancholy, casting up now a Shelley, now a Swinburne, now a Wagner, are, it may be, the frenzy of those that are about to see what the magic hymn printed by the Abbé de Villars has called the Crown of Living and Melodious Diamonds. If the carts have hit our fancy we must have the soul tight within our bodies, for it has grown so fond of a beauty accumulated by subtle generations that it will for a long time be impatient with our thirst for mere force, mere personality, for the tumult of the blood. If it begin to slip away we must go after it, for Shelley’s Chapel of the Morning Star is better than Burns’s beer-house – surely it was beer, not barleycorn – except at the day’s weary end; and it is always better than that uncomfortable place where there is no beer, the machine shop of the realists.
THE MUSICIAN AND THE ORATOR
Walter Pater says music is the type of all the Arts, but somebody else, I forget now who, that oratory is their type. You will side with the one or the other according to the nature of your energy, and I in my present mood am all for the man who, with an average audience before him, uses all means of persuasion – stories, laughter, tears, and but so much music as he can discover on the wings of words. I would even avoid the conversation of the lovers of music, who would draw us into the impersonal land of sound and colour, and I would have no one write with a sonata in his memory. We may even speak a little evil of musicians, having admitted that they will see before we do that melodious crown. We may remind them that the housemaid does not respect the piano-tuner as she does the plumber, and of the enmity that they have aroused among all poets. Music is the most impersonal of things, and words the most personal, and that is why musicians do not like words. They masticate them for a long time, being afraid they would not be able to digest them, and when the words are so broken and softened and mixed with spittle that they are not words any longer, they swallow them.
A GUITAR PLAYER
A girl has been playing on the guitar. She is pretty, and if I didn’t listen to her I could have watched her, and if I didn’t watch her I could have listened. Her voice, the movements of her body, the expression of her face, all said the same thing. A player of a different temper and body would have made all different, and might have been delightful in some other way. A movement not of music only but of life came to its perfection. I was delighted and I did not know why until I thought, ‘That is the way my people, the people I see in the mind’s eye, play music, and I like it because it is all personal, as personal as Villon’s poetry.’ The little instrument is quite light, and the player can move freely and express a joy that is not of the fingers and the mind only but of the whole being; and all the while her movements call up into the mind, so erect and natural she is, whatever is most beautiful in her daily life. Nearly all the old instruments were like that, even the organ was once a little instrument, and when it grew big our wise forefathers gave it to God in the cathedrals, where it befits Him to be everything. But if you sit at the piano, it is the piano, the mechanism, that is the important thing, and nothing of you means anything but your fingers and your intellect.
THE LOOKING-GLASS
I have just been talking to a girl with a shrill monotonous voice and an abrupt way of moving. She is fresh from school, where they have taught her history and geography ‘whereby a soul can be discerned,’ but what is the value of an education, or even in the long run of a science, that does not begin with the personality, the habitual self, and illustrate all by that? Somebody should have taught her to speak for the most part on whatever note of her voice is most musical, and soften those harsh notes by speaking, not singing, to some stringed instrument, taking note after note and, as it were, caressing her words a little as if she loved the sound of them, and have taught her after this some beautiful pantomimic dance, till it had grown a habit to live for eye and ear. A wise theatre might make a training in strong and beautiful life the fashion, teaching before all else the heroic discipline of the looking-glass, for is not beauty, even as lasting love, one of the most difficult of the arts?
THE TREE OF LIFE
We artists have taken over-much to heart that old commandment about seeking after the Kingdom of Heaven. Verlaine told me that he had tried to translate ‘In Memoriam,’ but could not because Tennyson was ‘too noble, too Anglais, and, when he should have been broken-hearted, had many reminiscences.’ About that time I found in some English review an essay of his on Shakespeare. ‘I had once a fine Shakespeare,’ he wrote, or some such words, ‘but I have it no longer. I write from memory.’ One wondered in what vicissitude he had sold it, and for what money; and an image of the man rose in the imagination. To be his ordinary self as much as possible, not a scholar or even a reader, that was certainly his pose; and in the lecture he gave at Oxford he insisted ‘that the poet should hide nothing of himself,’ though he must speak it all with ‘a care of that dignity which should manifest itself, if not in the perfection of form, at all events with an invisible, insensible, but effectual endeavour after this lofty and severe quality, I was about to say this virtue.’ It was this feeling for his own personality, his delight in singing his own life, even more than that life itself, which made the generation I belong to compare him to Villon. It was not till after his death that I understood the meaning his words should have had for me, for while he lived I was interested in nothing but states of mind, lyrical moments, intellectual essences. I would not then have been as delighted as I am now by that guitar player, or as shocked as I am now by that girl whose movements have grown abrupt, and whose voice has grown harsh by the neglect of all but external activities. I had not learned what sweetness, what rhythmic movement, there is in those who have become the joy that is themselves. Without knowing it, I had come to care for nothing but impersonal beauty. I had set out on life with the thought of putting my very self into poetry, and had understood this as a representation of my own visions and an attempt to cut away the non-essential, but as I imagined the visions outside myself my imagination became full of decorative landscape and of still life. I thought of myself as something unmoving and silent living in the middle of my own mind and body, a grain of sand in Bloomsbury or in Connacht that Satan’s watch fiends cannot find. Then one day I understood quite suddenly, as the way is, that I was seeking something unchanging and unmixed and always outside myself, a Stone or an Elixir that was always out of reach, and that I myself was the fleeting thing that held out its hand. The more I tried to make my art deliberately beautiful, the more did I follow the opposite of myself, for deliberate beauty is like a woman always desiring man’s desire. Presently I found that I entered into myself and pictured myself and not some essence when I was not seeking beauty at all, but merely to lighten the mind of some burden of love or bitterness thrown upon it by the events of life. We are only permitted to desire life, and all the rest should be our complaints or our praise of that exacting mistress who can awake our lips into song with her kisses. But we must not give her all, we must deceive her a little at times, for, as Le Sage says in Diable Boiteux the false lovers who do not become melancholy or jealous with honest passion have the happiest mistresses and are rewarded the soonest and by the most beautiful. Our deceit will give us style, mastery, that dignity, that lofty and severe quality Verlaine spoke of. To put it otherwise, we should ascend out of common interests, the thoughts of the newspapers, of the marketplace, of men of science, but only so far as we can carry the normal, passionate, reasoning self, the personality as a whole. We must find some place upon the Tree of Life for the Phœnix nest, for the passion that is exaltation and the negation of the will, for the wings that are always upon fire, set high that the forked branches may keep it safe, yet low enough to be out of the little wind-tossed boughs, the quivering of the twigs.
THE PRAISE OF OLD WIVES’ TALES
AN art may become impersonal because it has too much circumstance or too little, because the world is too little or too much with it, because it is too near the ground or too far up among the branches. I met an old man out fishing a year ago, who said to me, ‘Don Quixote and Odysseus are always near to me’; that is true for me also, for even Hamlet and Lear and Œdipus are more cloudy.1 No playwright ever has made or ever will make a character that will follow us out of the theatre as Don Quixote follows us out of the book, for no playwright can be wholly episodical, and when one constructs, bringing one’s characters into complicated relations with one another, something impersonal comes into the story. Society, fate, ‘tendency,’ something not quite human, begins to arrange the characters and to excite into action only so much of their humanity as they find it necessary to show to one another. The common heart will always love better the tales that have something of an old wives’ tale and that look upon their hero from every side as if he alone were wonderful, as a child does with a new penny. In plays of a comedy too extravagant to photograph life, or written in verse, the construction is of a necessity woven out of naked motives and passions, but when an atmosphere of modern reality has to be built up as well, and the tendency, or fate, or society has to be shown as it is about ourselves, the characters grow fainter, and we have to read the book many times or see the play many times before we can remember them. Even then they are only possible in a certain drawing-room and among such and such people, and we must carry all that lumber in our heads. I thought Tolstoi’s ‘War and Peace’ the greatest story I had ever read, and yet it has gone from me; even Lancelot, ever a shadow, is more visible in my memory than all its substance.
THE PLAY OF MODERN MANNERS
Of all artistic forms that have had a large share of the world’s attention, the worst is the play about modern educated people. Except where it is superficial or deliberately argumentative it fills one’s soul with a sense of commonness as with dust. It has one mortal ailment. It cannot become impassioned, that is to say, vital, without making somebody gushing and sentimental. Educated and well-bred people do not wear their hearts upon their sleeves, and they have no artistic and charming language except light persiflage and no powerful language at all, and when they are deeply moved they look silently into the fireplace. Again and again I have watched some play of this sort with growing curiosity through the opening scene. The minor people argue, chaff one another, hint sometimes at some deeper stream of life just as we do in our houses, and I am content. But all the time I have been wondering why the chief character, the man who is to bear the burden of fate, is gushing, sentimental and quite without ideas. Then the great scene comes and I understand that he cannot be well-bred or self-possessed or intellectual, for if he were he would draw a chair to the fire and there would be no duologue at the end of the third act. Ibsen understood the difficulty and made all his characters a little provincial that they might not put each other out of countenance, and made a leading article sort of poetry, phrases about vine leaves and harps in the air it was possible to believe them using in their moments of excitement, and if the play needed more than that, they could always do something stupid. They could go out and hoist a flag as they do at the end of Little Eyolf. One only understands that this manner, deliberately adopted one doubts not, had gone into his soul and filled it with dust, when one has noticed that he could no longer create a man of genius. The happiest writers are those that, knowing this form of play to be slight and passing, keep to the surface, never showing anything but the arguments and the persiflage of daily observation, or now and then, instead of the expression of passion, a stage picture, a man holding a woman’s hand or sitting with his head in his hands in dim light by the red glow of a fire. It was certainly an understanding of the slightness of the form, of its incapacity for the expression of the deeper sorts of passion, that made the French invent the play with a thesis, for where there is a thesis people can grow hot in argument, almost the only kind of passion that displays itself in our daily life. The novel of contemporary educated life is upon the other hand a permanent form because having the power of psychological description it can follow the thought of a man who is looking into the grate.
HAS THE DRAMA OF CONTEMPORARY LIFE A ROOT OF ITS OWN?
In watching a play about modern educated people, with its meagre language and its action crushed into the narrow limits of possibility, I have found myself constantly saying: ‘Maybe it has its power to move, slight as that is, from being able to suggest fundamental contrasts and passions which romantic and poetical literature have shown to be beautiful.’ A man facing his enemies alone in a quarrel over the purity of the water in a Norwegian Spa and using no language but that of the newspapers can call up into our minds, let us say, the passion of Coriolanus. The lovers and fighters of old imaginative literature are more vivid experiences in the soul than anything but one’s own ruling passion that is itself riddled by their thought as by lightning, and even two dumb figures on the roads can call up all that glory. Put the man who has no knowledge of literature before a play of this kind and he will say, as he has said in some form or other in every age at the first shock of naturalism, ‘What has brought me out to hear nothing but the words we use at home when we are talking of the rates?’ And he will prefer to it any play where there is visible beauty or mirth, where life is exciting, at high tide as it were. It is not his fault that he will prefer in all likelihood a worse play although its kind may be greater, for we have been following the lure of science for generations and forgotten him and his. I come always back to this thought. There is something of an old wives’ tale in fine literature. The makers of it are like an old peasant telling stories of the great famine or the hangings of ’98 or his own memories. He has felt something in the depth of his mind and he wants to make it as visible and powerful to our senses as possible. He will use the most extravagant words or illustrations if they suit his purpose. Or he will invent a wild parable, and the more his mind is on fire or the more creative it is, the less will he look at the outer world or value it for its own sake. It gives him metaphors and examples, and that is all. He is even a little scornful of it, for it seems to him while the fit is on that the fire has gone out of it and left it but white ashes. I cannot explain it, but I am certain that every high thing was invented in this way, between sleeping and waking, as it were, and that peering and peeping persons are but hawkers of stolen goods. How else could their noses have grown so ravenous or their eyes so sharp?
WHY THE BLIND MAN IN ANCIENT TIMES WAS MADE A POET
A description in the Iliad or the Odyssey, unlike one in the Æneid or in most modern writers, is the swift and natural observation of a man as he is shaped by life. It is a refinement of the primary hungers and has the least possible of what is merely scholarly or exceptional. It is, above all, never too observant, too professional, and when the book is closed we have had our energies enriched, for we have been in the mid-current. We have never seen anything Odysseus could not have seen while his thought was of the Cyclops, or Achilles when Briseis moved him to desire. In the art of the greatest periods there is something careless and sudden in all habitual moods though not in their expression, because these moods are a conflagration of all the energies of active life. In primitive times the blind man became a poet as he became a fiddler in our villages, because he had to be driven out of activities all his nature cried for before he could be contented with the praise of life. And often it is Villon or Verlaine with impediments plain to all, who sings of life with the ancient simplicity. Poets of coming days, when once more it will be possible to write as in the great epochs, will recognise that their sacrifice shall be to refuse what blindness and evil name, or imprisonment at the outsetting, denied to men who missed thereby the sting of a deliberate refusal. The poets of the ages of silver need no refusal of life, the dome of many-coloured glass is already shattered while they live. They look at life deliberately and as if from beyond life, and the greatest of them need suffer nothing but the sadness that the saints have known. This is their aim, and their temptation is not a passionate activity, but the approval of their fellows, which comes to them in full abundance only when they delight in the general thoughts that hold together a cultivated middle-class, where irresponsibilities of position and poverty are lacking; the things that are more excellent among educated men who have political preoccupations, Augustus Cæsar’s affability, all that impersonal fecundity which muddies the intellectual passions. Ben Jonson says in the ‘Poetaster,’ that even the best of men without Promethean fire is but a hollow statue, and a studious man will commonly forget after some forty winters that of a certainty Promethean fire will burn somebody’s fingers. It may happen that poets will be made more often by their sins than by their virtues, for general praise is unlucky, as the villages know, and not merely as I imagine – for I am superstitious about these things – because the praise of all but an equal enslaves and adds a pound to the ball at the ankle with every compliment.