to do? I am quite aware that what is going on in English life has nothing whatever to do with what is going on at the English theatres in the autumn of 1896. Still, like Caleb Plummer, in a matter of this kind one would like to get “as near natur’ as possible,” or, at least, not to falsify and improve her beyond all chance of recognition. I hope I shall not be accused of any feeling of enmity against wax-doll morality in the abstract. I think it a most excellent, nay, a perfect theory of morals. The more I consider it, the more eloquent I could grow in its favour. I do not mean to practise it myself, but I do most cordially recommend it to all my neighbours.
To return. The correspondence in the Times showed scarcely a suspicion that morality on the stage meant anything else than shutting one’s eyes alike to facts and to truth, and making one’s characters behave like wax dolls. As to the bent and purpose of the dramatist, there was so little of the dramatic sense abroad, that an act of a play which was written to ridicule the detestable, cheap, paradoxical affectations of vice and immorality current among a certain section of society was censured as being an attempt to copy the thing it was satirising! So impossible is it to get the average Englishman to distinguish for a moment between the dramatist and his characters. The one notion that the public got into its head was that we were a set of gloomy corrupters of youth, and it hooted accordingly. Now, I do not deny that many undesirable things, many things to regret, many extreme things, and some few unclean things, fastened upon the recent dramatic movement. And so far as it had morbid issues, so far as it tended merely to distress and confuse, so far as it painted vice and ugliness for their own sakes, so far it was rightly and inevitably condemned, nay, so far it condemned and destroyed itself. But these, I maintain, were side-tendencies. They were not the essence of the movement. They were the extravagances and confusions that always attend a revival, whether in art or religion. And by the general public, who can never get but one idea, and never more than one side of that idea, into its head at a time, these extravagances and side-shoots are taken for the very heart of the movement.
Take the Oxford movement. Did the great British public get a glimmer of Newman’s lofty idea of the continual indwelling miraculous spiritual force of the Church? No. It got a notion into its head that a set of rabid, dishonest bigots were trying to violate the purity of its Protestant religion, so it hooted and howled, stamped upon the movement, and went back to hug the sallow corpse of Evangelicalism for another quarter of a century. The movement was thought to be killed. But it was only scotched, and it is the one living force in the English Church to-day.
Take, again, the æsthetic movement. Did the great British public get a glimmer of William Morris’s lofty idea of making every home in England beautiful? No. It got a notion into its head that a set of idiotic fops had gone crazy in worship of sunflowers; so it giggled and derided, and went back to its geometric-patterned Brussels carpets, its flock wall-papers, and all the damnable trumpery of Tottenham Court Road. The movement was thought to be killed, but it was only scotched; and whatever beauty there is in English interiors, whatever advance has been made in decorating our homes, is due to that movement. Again, to compare small things with great, in the recent attempt to give England a living national drama, we have been judged not upon the essence of the matter, but upon certain extravagances and side-tendencies. The great public got a notion into its head that a set of gloomy, vicious persons had conspired to corrupt the youth of our nation by writing immoral plays. And the untimely accident of a notorious prosecution giving some colour to the opinion, no further examination was made of the matter. A clean sweep was made of the whole business, and a rigid system of wax-doll morality established forthwith, so far, that is, as the modern prose drama is concerned. But this wax-doll morality is only enforced against the serious drama of modern life. It is not enforced against farce, or musical comedy. It is only the serious dramatist who has been gagged and handcuffed. Adultery is still an excellent joke in a farce, provided it is conveyed by winks and nods. The whole body of a musical entertainment may reek with cockney indecency and witlessness, and yet no English mother will sniff offence, provided it is covered up with dances and songs. I repeat that if a thorough examination is made of the matter, it will be found that the recent movement has been judged upon a small side-issue.
We may hope that the English translation of M. Filon’s work will do something to reinstate us in the good opinion of our countrymen. I think, if his readers will take his cue that during the last few years there has been an earnest attempt on the part of a few writers to establish a living English drama, that is, a drama which within necessary limitations and conventions sets out with a determination to see English life as it really is and to paint English men and women as they really are—I think if playgoers will take that cue from M. Filon, they will get a better notion of the truth of the case than if they still regard us as gloomy and perverse corrupters of English youth.
A passage from George Meredith may perhaps serve to indicate the position of the English drama at the present moment, and to point in what direction its energies should lie when the gags and handcuffs are removed, and the stiffness gets out of its joints. At the opening of Diana of the Crossways these memorable words occur:—
“Then, ah! then, moreover, will the novelist’s art (and the dramatist’s), now neither blushless infant nor executive man, have attained its majority. We can then be veraciously historical, honestly transcriptive. Rose-pink and dirty drab will alike have passed away. Philosophy is the foe of both, and their silly cancelling contest, perpetually renewed in a shuffle of extremes, as it always is where a phantasm falseness reigns, will no longer baffle the contemplation of natural flesh, smother no longer the soul issuing out of our incessant strife. Philosophy bids us to see that we are not so pretty as rose-pink, not so repulsive as dirty drab; and that, instead of everlastingly shifting those barren aspects, the sight of ourselves is wholesome, bearable, fructifying, finally a delight. Do but perceive that we are coming to philosophy, the stride toward it will be a giant’s—a century a day. And imagine the celestial refreshment of having a pure decency in the place of sham; real flesh; a soul born active, wind-beaten, but ascending. Honourable will fiction (and the drama) then appear; honourable, a fount of life, an aid to life, quick with our blood. Why, when you behold it you love it—and you will not encourage it?—or only when presented by dead hands? Worse than that alternative dirty drab, your recurring rose-pink is rebuked by hideous revelations of the filthy foul; for nature will force her way, and if you try to stifle her by drowning she comes up, not the fairest part of her uppermost! Peruse your Realists—really your castigators, for not having yet embraced philosophy. As she grows in the flesh when discreetly tended, nature is unimpeachable, flower-like, yet not too decoratively a flower; you must have her with the stem, the thorns, the roots, and the fat bedding of roses. In this fashion she grew, says historical fiction; thus does she flourish now, would say the modern transcript, reading the inner as well as exhibiting the outer.
“And how may you know that you have reached to philosophy? You touch her skirts when you share her hatred of the sham decent, her derision of sentimentalism. You are one with her when—but I would not have you a thousand years older! Get to her, if in no other way, by the sentimental route:—that very winding path, which again and again brings you round to the point of original impetus, where you have to be unwound for another whirl; your point of original impetus being the grossly material, not at all the spiritual. It is most true that sentimentalism springs from the former, merely and badly aping the latter;—fine flower, or pinnacle flame-spire, of sensualism that it is, could it do other?—and accompanying the former it traverses tracks of desert, here and there couching in a garden, catching with one hand at fruits, with another at colours; imagining a secret ahead, and goaded by an appetite sustained by sheer gratifications. Fiddle in harmonics as it may, it will have these gratifications at all costs. Should none be discoverable, at once you are at the Cave of Despair, beneath the funeral orb of Glaucoma, in the thick midst of poinarded, slit-throat, rope-dependent figures, placarded across the bosom Disillusioned, Infidel, Agnostic, Miserrimus. That is the sentimental route to advancement. Spirituality does not light it; evanescent dreams are its oil-lamps, often with wick askant in the socket.
“A thousand years! You may count full many a thousand by this route before you are one with divine philosophy. Whereas a single flight of brains will reach and embrace her; give you the savour of Truth, the right use of the senses, Reality’s infinite sweetness; for these things are in philosophy; and the