Fancies versus Fads
ment, which seems to me calculated to falsify the whole art of the drama. It is founded on exactly the same fallacy as that of the infant in Stevenson's nursery rhyme, who thought that the Japanese children must suffer from home-sickness through being always abroad in Japan.
This brings us very near to an old and rather threadbare theatrical controversy, about whether staging should be simple or elaborate. I do not mean to begin that argument all over again. What is really wanted is not so much the simple stage-manager as the simple spectator. In a very real sense, what is wanted is the simple critic, who would be in truth the most subtle critic. The healthy human instincts in these things are at least as much spoiled by sophistication in the stalls as by elaboration on the stage. A really simple mind would enjoy a simple scene—and also a gorgeous scene. A popular instinct, to be found -in all folklore, would know well enough when the one or the other was appropriate. But what is involved here is not the whole of that sophistication, but only one particular sophistry, and against that sophistry we may well pause to protest. It is the critical fallacy of cutting off a real donkey's head to put it on Bottom the Weaver; when the head is symbolical, and in that case more appropriate to the critic than to the actor.
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