Ideas of Good and Evil (Yeats)/The Theatre
I remember, some years ago, advising a distinguished, though too little recognized, writer of poetical plays to write a play as unlike ordinary plays as possible, that it might be judged with a fresh mind, and to put it on the stage in some small suburban theatre, where a small audience would pay its expenses. I said that he should follow it the year after, at the same time of the year, with another play, and so on from year to year; and that the people who read books, and do not go to the theatre, would gradually find out about him. I suggested that he should begin with a pastoral play, because nobody would expect from a pastoral play the succession of nervous tremours which the plays of commerce, like the novels of commerce, have substituted for the purification that comes with pity and terror to the imagination and intellect. He followed my advice in part, and had a small but perfect success, filling his small theatre for twice the number of performances he had announced; but instead of being content with the praise of his equals, and waiting to win their praise another year, he hired immediately a big London theatre, and put his pastoral play and a new play before a meagre and unintelligent audience. I still remember his pastoral play with delight, because, if not always of a high excellence, it was always poetical; but I remember it at the small theatre, where my pleasure was magnified by the pleasure of those about me, and not at the big theatre, where it made me uncomfortable, as an unwelcome guest always makes one uncomfortable.
Why should we thrust our works, which we have written with imaginative sincerity and filled with spiritual desire, before those quite excellent people who think that Rossetti's women are 'guys,' that Rodin's women are 'ugly,' and that Ibsen is 'immoral,' and who only want to be left at peace to enjoy the works so many clever men have made especially to suit them? We must make a theatre for ourselves and our friends, and for a few simple people who understand from sheer simplicity what we understand from scholarship and thought. We have planned the Irish Literary Theatre with this hospitable emotion, and, that the right people may find out about us, we hope to act a play or two in the spring of every year; and that the right people may escape the stupefying memory of the theatre of commerce which clings even to them, our plays will be for the most part remote, spiritual, and ideal.
A common opinion is that the poetic drama has come to an end, because modern poets have no dramatic power; and Mr. Binyon seems to accept this opinion when he says: 'It has been too often assumed that it is the manager who bars the way to poetic plays. But it is much more probable that the poets have failed the managers. If poets mean to serve the stage, their dramas must be dramatic.' I find it easier to believe that audiences, who have learned, as I think, from the life of crowded cities to live upon the surface of life, and actors and managers, who study to please them, have changed, than that imagination, which is the voice of what is eternal in man, has changed. The arts are but one Art; and why should all intense painting and all intense poetry have become not merely unintelligible but hateful to the greater number of men and women, and intense drama move them to pleasure? The audiences of Sophocles and of Shakespeare and of Calderon were not unlike the audiences I have heard listening in Irish cabins to songs in Gaelic about 'an old poet telling his sins,' and about 'the five young men who were drowned last year,' and about 'the lovers that were drowned going to America,' or to some tale of Oisin and his three hundred years in Tir nan Oge. Mr. Bridges' Return of Ulysses, one of the most beautiful and, as I think, dramatic of modern plays, might have some success in the Aran Islands, if the Gaelic League would translate it into Gaelic, but I am quite certain that it would have no success in the Strand.
Blake has said that all Art is a labour to bring again the Golden Age, and all culture is certainly a labour to bring again the simplicity of the first ages, with knowledge of good and evil added to it. The drama has need of cities that it may find men in sufficient numbers, and cities destroy the emotions to which it appeals, and therefore the days of the drama are brief and come but seldom. It has one day when the emotions of cities still remember the emotions of sailors and husbandmen and shepherds and users of the spear and the bow; as the houses and furniture and earthen vessels of cities, before the coming of machinery, remember the rocks and the woods and the hillside; and it has another day, now beginning, when thought and scholarship discover their desire. In the first day, it is the Art of the people; and in the second day, like the dramas acted of old times in the hidden places of temples, it is the preparation of a Priesthood. It may be, though the world is not old enough to show us any example, that this Priesthood will spread their Religion everywhere, and make their Art the Art of the people.
When the first day of the drama had passed by, actors found that an always larger number of people were more easily moved through the eyes than through the ears. The emotion that comes with the music of words is exhausting, like all intellectual emotions, and few people like exhausting emotions; and therefore actors began to speak as if they were reading something out of the newspapers. They forgot the noble art of oratory, and gave all their thought to the poor art of acting, that is content with the sympathy of our nerves; until at last those who love poetry found it better to read alone in their rooms what they had once delighted to hear sitting friend by friend, lover by beloved. I once asked Mr. William Morris if he had thought of writing a play, and he answered that he had, but would not write one, because actors did not know how to speak poetry with the half-chant men spoke it with in old times. Mr. Swinburne's Locrine was acted a month ago, and it was not badly acted, but nobody could tell whether it was fit for the stage or not, for not one rhythm, not one cry of passion, was spoken with a musical emphasis, and verse spoken without a musical emphasis seems but an artificial and cumbersome way of saying what might be said naturally and simply in prose.
As audiences and actors changed, managers learned to substitute meretricious landscapes, painted upon wood and canvas, for the descriptions of poetry, until the painted scenery, which had in Greece been a charming explanation of what was least important in the story, became as important as the story. It needed some imagination, some gift for day-dreams, to see the horses and the fields and flowers of Colonus as one listened to the elders gathered about Œdipus, or to see 'the pendent bed and procreant cradle' of the 'martlet' as one listened to Duncan before the castle of Macbeth; but it needs no imagination to admire a painting of one of the more obvious effects of nature painted by somebody who understands how to show everything to the most hurried glance. At the same time the managers made the costumes of the actors more and more magnificent, that the mind might sleep in peace, while the eye took pleasure in the magnificence of velvet and silk and in the physical beauty of women. These changes gradually perfected the theatre of commerce, the masterpiece of that movement towards externality in life and thought and Art, against which the criticism of our day is learning to protest.
Even if poetry were spoken as poetry, it would still seem out of place in many of its highest moments upon a stage, where the superficial appearances of nature are so closely copied; for poetry is founded upon convention, and becomes incredible the moment painting or gesture remind us that people do not speak verse when they meet upon the highway. The theatre of Art, when it comes to exist, must therefore discover grave and decorative gestures, such as delighted Rossetti and Madox Brown, and grave and decorative scenery, that will be forgotten the moment an actor has said 'It is dawn,' or 'It is raining,' or 'The wind is shaking the trees'; and dresses of so little irrelevant magnificence that the mortal actors and actresses may change without much labour into the immortal people of romance. The theatre began in ritual, and it cannot come to its greatness again without recalling words to their ancient sovereignty.
It will take a generation, and perhaps generations, to restore the theatre of Art; for one must get one's actors, and perhaps one's scenery, from the theatre of commerce, until new actors and new painters have come to help one; and until many failures and imperfect successes have made a new tradition, and perfected in detail the ideal that is beginning to float before our eyes. If one could call one's painters and one's actors from where one would, how easy it would be. I know some painters, who have never painted scenery, who could paint the scenery I want, but they have their own work to do; and in Ireland I have heard a red-haired orator repeat some bad political verses with a voice that went through one like flame, and made them seem the most beautiful verses in the world ; but he has no practical knowledge of the stage, and probably despises it.
Dionysius, the Areopagite, wrote that 'He has set the borders of the nations according to His angels.' It is these angels, each one the genius of some race about to be unfolded, that are the founders of intellectual traditions; and as lovers understand in their first glance all that is to befall them, and as poets and musicians see the whole work in its first impulse, so races prophesy at their awakening whatever the generations that are to prolong their traditions shall accomplish in detail. It is only at the awakening—as in ancient Greece, or in Elizabethan England, or in contemporary Scandinavia—that great numbers of men understand that a right understanding of life and of destiny is more important than amusement. In London, where all the intellectual traditions gather to die, men hate a play if they are told it is literature, for they will not endure a spiritual superiority; but in Athens, where so many intellectual traditions were born, Euripides once changed hostility to enthusiasm by asking his playgoers whether it was his business to teach them, or their business to teach him. New races understand instinctively, because the future cries in their ears, that the old revelations are insufficient, and that all life is revelation beginning in miracle and enthusiasm, and dying out as it unfolds itself in what we have mistaken for progress. It is one of our illusions, as I think, that education, the softening of manners, the perfecting of law—countless images of a fading light—can create nobleness and beauty, and that life moves slowly and evenly towards some perfection. Progress is miracle, and it is sudden, because miracles are the work of an all-powerful energy, and nature in herself has no power except to die and to forget. If one studies one's own mind, one comes to think with Blake, that 'every time less than a pulsation of the artery is equal to six thousand years, for in this period the poet's work is done; and all the great events of time start forth and are conceived in such a period, within a pulsation of the artery.'