by Unknown
There are some weighty truths which we cannot overpass, in the relations between drama and the artist. Drama is essentially a communal art and of widespread domain. The drama — its fittest vehicle almost presupposes an audience, drawn from all classes. In an artloving and art-producing society the drama would naturally take up its position at the head of all artistic institutions. Drama is moreover of so unswayed, so unchallengeable a nature that in its highest forms it all but transcends criticism. It is hardly possible to criticize The Wild Duck, for instance; one can only brood upon it as upon a personal woe. Indeed in the case of all Ibsen’s later work dramatic criticism, properly so called, verges on impertinence. In every other art personality, mannerism of touch, local sense, are held as adornments, as additional charms. But here the artist forgoes his very self and stands a mediator in awful truth before the veiled face of God.
If you ask me what occasions drama or what is the necessity for it at all, I answer Necessity. It is mere animal instinct applied to the mind. Apart from his world-old desire to get beyond the flaming ramparts, man has a further longing to become a maker and a moulder. That is the necessity of all art. Drama is again the least dependent of all arts on its material. If the supply of mould- able earth or stone gives out, sculpture becomes a memory, if the yield of vegetable pigments ceases, the pictorial art ceases. But whether there be marble or paints, there is always the artstuff for drama. I believe further that drama arises spontaneously out of life and is coeval with it. Every race has made its own myths and it is in these that early drama often finds an outlet. The author of Parsifal has recognized this and hence his work is solid as a rock. When the mythus passes over the borderline and invades the temple of worship, the possibilities of its drama have lessened considerably. Even then it struggles back to its rightful place, much to the discomfort of the stodgy congregation.
As men differ as to the rise, so do they as to the aims of drama. It is in most cases claimed by the votaries of the antique school that the drama should have special ethical claims, to use their stock phrase, that it should instruct, elevate, and amuse. Here is yet another gyve that the jailers have bestowed. I do not say that drama may not fulfil any or all of these functions, but I deny that it is essential that it should fulfil them. Art, elevated into the overhigh sphere of religion, generally loses its true soul in stagnant quietism. As to the lower form of this dogma it is surely funny. This polite request to the dramatist to please point a moral, to rival Cyrano, in iterating through each act ‘A la fin de l’envoi je touche’ is amazing. Bred as it is of an amiable-parochial disposition we can but waive it. Mr Beoerly sacked with strychnine, or M. Coupeau in the horrors are nothing short of piteous in a surplice and dalmatic apiece. However this absurdity is eating itself fast, like the tiger of story, tail first.
A yet more insidious claim is the claim for beauty. As conceived by the claimants beauty is as often anaemic spirituality as hardy animalism. Then, chiefly because beauty is to men an arbitrary quality and often lies no deeper than form, to pin drama to dealing with it, would be hazardous. Beauty is the swerga’ of the aesthete; but truth has a more ascertainable and more real dominion. Art is true to itself when it deals with truth. Should such an untoward event as a universal reformation take place on earth, truth would be the very threshold of the house beautiful.
I have just one other claim to discuss, even at the risk of exhausting your patience. I quote from Mr Beerbohm Tree. ‘In these days when faith is tinged with philosophic doubt, I believe it is the function of art to give us light rather than darkness. It should not point to our relationship with monkeys but rather remind us of our affinity with the angels.’ In this statement there is a fair element of truth which however requires qualification. Mr Tree contends that men and women will always look to art as the glass wherein they may see themselves idealized. Rather I should think that men and women seldom think gravely on their own impulses towards art. The fetters of convention bind them too strongly. But after all art cannot be governed by the insincerity of the compact majority but rather by those eternal conditions, says Mr Tree, which have governed it from the first. I admit this as irrefutable truth. But it were well we had in mind that those eternal conditions are not the conditions of modern communities. Art is marred by such mistaken insistence on its religious, its moral, its beautiful, its idealizing tendencies. A single Rembrandt is worth a gallery full of Van Dycks. And it is this doctrine of idealism in art which has in notable instances disfigured manful endeavour, and has also fostered a babyish instinct to dive under blankets at the mention of the bogey of realism. Hence the public disowns Tragedy, unless she rattles her dagger and goblet, abhors Romance which is not amenable to the laws of prosody, and deems it a had effect in art if, from the outpoured blood of hapless heroism, there does not at once spring up a growth of sorrowful blossoms. As in the very madness and frenzy of this attitude, people want the drama to befool them, Purveyor supplies plutocrat with a parody of life which the latter digests medicinally in a darkened theatre, the stage literally battening on the mental offal of its patrons.
Now if these views are effete what will serve the purpose? Shall we put life — real life — on the stage? No, says the Philistine chorus, for it will not draw. What a blend of thwarted sight and smug commercialism. Parnassus and the city Bank divide the souls of the pedlars. Life indeed nowadays is often a sad bore. Many feel like the Frenchman that they have been born too late in a world too old, and their wanhope and nerveless unheroism point on ever sternly to a last nothing, a vast futility and meanwhile — a bearing of fardels. Epic savagery is rendered impossible by vigilant policing, chivalry has been killed by the fashion oracles of the boulevards. There is no clank of mail, no halo about gallantry, no hat-sweeping, no roystering! The traditions of romance are upheld only in Bohemia. Still I think out of the dreary sameness of existence, a measure of dramatic life may be drawn. Even the most commonplace, the deadest among the living, may play a part in a great drama. It is a sinful foolishness to sigh back for the good old times, to feed the hunger of us with the cold stones they afford. Life we must accept as we see it before our eyes, men and women as we meet them in the real world, not as we apprehend them in the world of faery. The great human comedy in which each has share, gives limitless scope to the true artist, to-day as yesterday and as in years gone. The forms of things, as the earth’s crust, are changed. The timbers of the ships of Tarshish are falling asunder or eaten by the wanton sea; time has broken into the fastnesses of the mighty; the gardens of Armida are become as treeless wilds. But the deathless passions, the human verities which so found expression then, are indeed deathless, in the heroic cycle, or in the scientific age, Lohengrin, the drama of which unfolds itself in a scene of seclusion, amid half- lights, is not an Antwerp legend but a world drama. Ghosts, the action of which passes in a common parlour, is of universal import — a deepset branch on the tree, Igdrasil, whose roots are struck in earth, but through whose higher leafage the stars of heaven are glowing and astir. It may be that many have nothing to do with such fable, or think that their wonted fare is all that is of need to them. But as we stand on the mountains today, looking before and after, pining for what is not, scarcely discerning afar the patches of open sky; when the spurs threaten, and the track is grown with briers, what does it avail that into our hands we have given us a clouded cane for an alpenstock, or that we have dainty silks to shield us against the eager, upland wind? The sooner we understand our true position, the better; and the sooner then will we be up and doing on our way. In the meantime, art, and chiefly drama, may help us to make our resting places with a greater insight and a greater foresight, that the stones of them may be bravely builded, and the windows goodly and fair. . . what will you do in our Society, Miss Hessel?’ asked Rôrlund—’I will let in fresh air, Pastor.’ — answered Lona.
Jas. A. Joyce January 10,
1900
Ibsen’s New Drama
1900
Twenty years ha
ve passed since Henrik Ibsen wrote A Doll’s House, thereby almost marking an epoch in the history of drama. During those years his name has gone abroad through the length and breadth of two continents, and has provoked more discussion and criticism than that of any other living man. He has been upheld as a religious reformer, a social reformer, a Semitic lover of righteousness, and as a great dramatist. He has been rigorously denounced as a meddlesome intruder, a defective artist, an incomprehensible mystic, and, in the eloquent words of a certain English critic, la muck-ferreting dog’. Through the perplexities of such diverse criticism, the great genius of the man is day by day coming out as a hero comes out amid the earthly trials. The dissonant cries are fainter and more distant, the random praises are rising in steadier and more choral chaunt. Even to the uninterested bystander it must seem significant that the interest attached to this Norwegian has never flagged for over a quarter of a century. It may be questioned whether any man has held so firm an empire over the thinking world in modern times. Not Rousseau; not Emerson; not Carlyle; not any of those giants of whom almost all have passed out of human ken. Ibsen’s power over two generations has been enhanced by his own reticence. Seldom, if at all, has he condescended to join battle with his enemies. It would appear as if the storm of fierce debate rarely broke in upon his wonderful calm. The conflicting voices have not influenced his work in the very smallest degree. His output of dramas has been regulated by the utmost order, by a clockwork routine, seldom found in the case of genius. Only once he answered his assailants after their violent attack on Ghosts. But from The Wild Duck to John Gabriel Borkman, his dramas have appeared almost mechanically at intervals of two years. One is apt to overlook the sustained energy which such a plan of campaign demands; but even surprise at this must give way to admiration at the gradual, irresistible advance of this extraordinary man. Eleven plays, all dealing with modern life, have been published. Here is the list: A Doll’s House, Ghosts, An Enemy of the People, The Wild Duck, Rosmersholm, The Lady from the Sea, Hedda Gabier, The Master Builder, Little Eyolf John Gabriel Borkman, and lastly — his new drama, published at Copenhagen, December 19th, 1899 — When We Dead Awaken. This play is already in process of translation into almost a dozen different languages — a fact which speaks volumes for the power of its author. The drama is written in prose, and is in three acts.
To begin an account of a play of Ibsen’s is surely no easy matter. The subject is, in one way, so confined, and, in another way, so vast. It is safe to predict that nine-tenths of the notices of this play will open in some such way as the following: ‘Arnold Rubek and his wife, Maja, have been married for four years, at the beginning of the play. Their union is, however, unhappy. Each is discontented with the other.’ So far as this goes, it is unimpeachable; but then it does not go very far. It does not convey even the most shadowy notion of the relations between Professor Rubek and his wife. It is a bald, clerkly version of countless, indefinable complexities. It is as though the history of a tragic life were to be written down rudely in two columns, one for the pros and the other for the cons. It is only saying what is literally true, to say that, in the three acts of the drama, there has been stated all that is essential to the drama. There is from first to last hardly a superfluous word or phrase. Therefore, the play itself expresses its own ideas as briefly and as concisely as they can be expressed in the dramatic form. It is manifest, then, that a notice cannot give an adequate notion of the drama. This is not the case with the common lot of plays, to which the fullest justice may be meted out in a very limited number of lines. They are for the most part reheated dishes — unoriginal compositions, cheerfully owlish as to heroic insight, living only in their own candid claptrap — in a word, stagey. The most perfunctory curtness is their fittest meed. But in dealing with the work of a man like Ibsen, the task set the reviewer is truly great enough to sink all his courage. All he can hope to do is to link some of the more salient points together in such a way as to suggest rather than to indicate, the intricacies of the plot. Ibsen has attained ere this to such mastery over his art that, with apparently easy dialogue, he presents his men and
women passing through different soul-crises. His analytic method is thus made use of to the fullest extent, and into the comparatively short space of two days the life in life of all his characters is compressed. For instance, though we only see Solness during one night and up to the following evening, we have in reality watched with bated breath the whole course of his life up to the moment when Hilda Wangel enters his house. So in the play under consideration, when we see Professor Rubek first, he is sitting in a garden chair, reading his morning paper, but by degrees the whole scroll of his life is unrolled before us, and we have the pleasure not of hearing it read out to us, but of reading it for ourselves, piecing the various parts, and going closer to see wherever the writing on the parchment is fainter or less legible.
As I have said, when the play opens, Professor Rubek is sitting in the gardens of a hotel, eating, or rather having finished, his breakfast. In another chair, close beside him, is sitting Maja Rubek, the Professor’s wife. The scene is in Norway, a popular health resort near the sea. Through the trees can be seen the town harbour, and the fjord, with steamers plying over it, as it stretches past headland and river-isle out to the sea. Rubek is a famous sculptor, of middle age, and Maja, a woman still young, whose bright eyes have just a shade of sadness in them. These two continue reading their respective papers quietly in the peace of the morning. All looks so idyllic to the careless eye. The lady breaks the silence in a weary, petulant manner by complaining of the deep peace that reigns about them. Arnold lays down his paper with mild expostulation. Then they begin to converse of this thing and that; first of the silence, then of the place and the people, of the railway stations through which they passed the previous night, with their sleepy porters and aimlessly shifting lanterns. From this they proceed to talk of the changes in the people, and of all that has grown up since they were married. Then it is but a little further to the main trouble. In speaking of their married life it speedily appears that the inner view of their relations is hardly as ideal as the outward view might lead one to expect. The depths of these two people are being slowly stirred up. The leaven of prospective drama is gradually discerned working amid the fin-de- siècle scene. The lady seems a difficult little person. She complains of the idle promises with which her husband had fed her aspirations.
MAJA. You said you would take me up to a high mountain and show me all the glory of the world.
RUBEK (with a slight start). Did I promise you that, too?
In short, there is something untrue lying at the root of their union. Meanwhile the guests of the hotel, who are taking the baths, pass out of the hotel porch on the right, chatting and laughing men and women. They are informally marshalled by the inspector of the baths. This person is an unmistakable type of the conventional official. He salutes Mr. and Mrs. Rubek, enquiring how they slept. Rubek asks him if any of the guests take their baths by night, as he has seen a white figure moving in the park during the night. Maja scouts the notion, but the inspector says that there is a strange lady, who has rented the pavilion which is to the left, and who is staying there, with one attendant — a Sister of Mercy. As they are talking, the strange lady and her companion pass slowly through the park and enter the pavilion. The incident appears to affect Rubek, and Maja’s curiosity is aroused.
MAJA (a little hurt and jarred). Perhaps this lady has been one of your models, Rubek? Search your memory.
RUBEK (looks cuttingly at her). Model?
MAJA (with a provoking smile). In your younger days, I mean. You are said to have had such innumerable models — long ago, of course.
RUBEK (in the same tone). Oh, no, little Frau Maja. I have in reality had only one single model. One and one only for everything I have done.
While this misunderstanding is finding outlet in the foregoing conversation, the inspector, all at once, takes fright at some person who is approaching
. He attempts to escape into the hotel, but the high-pitched voice of the person who is approaching arrests him.
ULFHEIM’s voice (heard outside). Stop a moment, man. Devil take it all, can’t you stop? Why do you always scuttle away from me?
With these words, uttered in strident tones, the second chief actor enters on the scene. He is described as a great bear-killer, thin, tall, of uncertain age, and muscular. He is accompanied by his servant, Lars, and a couple of sporting dogs. Lars does not speak a single word in the play. Ulfheim at present dismisses him with a kick, and approaches Mr. and Mrs. Rubek. He falls into conversation with them, for Rubek is known to him as the celebrated sculptor. On sculpture this savage hunter offers some original remarks.
ULFHEIM . . . We both work in a hard material, madam — both your husband and I. He struggles with his marble blocks, I daresay; and I struggle with tense and quivering bear-sinews. And we both of us win the fight in the end — subdue and master our material. We don’t give in until we have got the better of it, though it fight never so hard.
RUBEK (deep in thought). There’s a great deal of truth in what you say.
This eccentric creature, perhaps by the force of his own eccentricity, has begun to weave a spell of enchantment about Maja. Each word that he utters tends to wrap the web of his personality still closer about her. The black dress of the Sister of Mercy causes him to grin sardonically. He speaks calmly of all his near friends, whom he has dispatched out of the world.
MAJA. And what did you do for your nearest friends?
ULFHEIM. Shot them, of course.
RUBEK (looking at him). Shot them? maja (moving her chair back). Shot them dead? ulfheim (nods). I never miss, madam.
However, it turns out that by his nearest friends he means his dogs, and the minds of his hearers are put somewhat more at ease. During their conversation the Sister of Mercy has prepared a slight repast for her mistress at one of the tables outside the pavilion. The unsustaining qualities of the food excite Ulfheim’s merriment. He speaks with a lofty disparagement of such effeminate diet. He is a realist in his appetite.
