The English Stage: Being an Account of the Victorian Drama. Filon Augustin
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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 fiction (and drama) which is the summary of actual Life, the within and without of us, is, prose or verse, plodding or soaring, philosophy’s elect handmaiden.”
“Dirty drab and rose-pink, with their silly cancelling contest” – does not that sum up the English drama of the last few years? There was certainly a shade too much dirty drab outside a while back, but within there was life. What life is there in the drama that has followed? Where does it paint one living English character? Where does it touch one single interest of our present life, one single concern of man’s body, soul, or spirit? What have these rose-pink revels of wax dolls to do with the immense, tragic, incoherent Babel around us, with all its multifold interests, passions, beliefs, and aspirations? When will philosophy come to our aid and depose this silly rose-pink wax-doll morality?
“But,” says the British mother, “I must have plays that I can take my daughters to see.”
“Quite so, my dear ma’am, and so you shall. But do you let your daughters read the Bible? The great realities of life are there handled in a far plainer and more outrageous way than they are ever handled on the English stage, and yet I cannot bring myself to think that the Bible has had a corrupt influence on the youth of our nation. Do you let them read Shakespeare? Again there is the freest handling of all these subjects, and again I cannot think that Shakespeare is a corrupter of English youth.”
The question of verbal indecency or grossness has really very little to do with the matter. A few centuries ago English gentlewomen habitually used words and spoke of matters in a way that would be considered disgusting in a smoking-room to-day. We may be very glad to have outgrown the verbal coarseness of former generations. But we are not on that account to plume ourselves on being the more moral. It is a matter of taste and custom, not of morality.
The real knot of the question is in the method of treating the great passions of humanity. If the English public sticks to its present decision that these passions are not to be handled at all, then no drama is possible. We shall continue our revels of wax dolls, and our theatres will provide entertainments, not drama. I do not shut my eyes to the fact that many of the greatest concerns of human life lie, to a great extent, outside the sexual question; and many great plays have been, and can be, written without touching upon these matters at all. But the general public will have none of them. The general public demands a love-story, and insists that it shall be the main interest of the play. And every English playwright knows that to offer the public a pure love-story is the surest way of winning a popular success. He knows that if he treats of unlawful love he imperils his chances and tends to drive away whole classes – one may say, the great majority of playgoers.
“Then why be so foolish as to do it?” is the obvious reply.
The dramatist has no choice. He is as helpless as Balaam, and can as little tune his prophesying to a foregone pleasing issue. A certain story presents itself to him, forces itself upon him, takes shape and coherence in his mind, becomes organic. The story comes automatically, grows naturally and spontaneously from what he has observed and experienced in the world around him, and he cannot alter its drift or reverse