Florentia. There is good acting that draws; one could give you names and places.

Dorriforth. I have already guessed those you mean. But when it isn't too much a matter of the paraphernalia it is too little a matter of the play. A play nowadays is a rare bird. I should like to see one. Florentia. There are lots of them, all the while the newspapers talk about them. People talk about them at dinners.

Dorriforth. What do they say about them?

Florentia. The newspapers?

Dorriforth. No, I don't care for them. The people at dinners.

Florentia. Oh. they don't say anything in particular.

Dorriforth. Doesn't that seem to show the effort isn't very suggestive?

Amicia. The conversation at dinners certainly isn't.

Dorriforth. I mean our contemporary drama. To begin with, you can't find it there's no text.

Florentia. No text?

Auberon. So much the better!

Dorriforth. So much the better if there is to be no criticism. There is only a dirt prompter's book. One can't put one's hand upon it; one doesn't know what one is discussing. There is no "authority"—nothing is ever published.

Amicia. The pieces wouldn't bear that.

Dorriforth. It would be a small ordeal to resist—if there were anything in them. Look at the novels!

Amicia. The text is the French brochure. The "adaptation" is unprintable.

Dorriforth. That's where it's so wrong, It ought at least to be as good as the original.

Auberon. Aren't there some "rights" to protect—some risk of the play being stolen if it's published?

Dorriforth. There may be—I don't know. Doesn't that only prove how little important we regard the drama as being, and how little seriously we take it, if we won't even trouble ourselves to bring about decent civil conditions for its existence? What have we to do with the French brochure? how does that help us to represent our own life, our manners, our customs, our ideas, our English types, our English world? Such a field for comedy, for tragedy, for portraiture, for satire, as they all make-such subjects as they would yield! Think of London alone—what a matchless hunting-ground for the satirist—the most magnificent that ever was. If the occasion always produced the man London would have produced an Aristophanes. But somehow it doesn't.

Florentia. Oh, types and ideas, Aristophanes and satire—!

Dorriforth. I'm too ambitious, you mean? I shall presently show you that I'm not ambitious at all. Everything makes against that—I am only reading the signs.

Auberon. The plays are arranged to be as English as possible: they are altered, they are fitted.

Dorriforth. Fitted? Indeed they are, and to the capacity of infants. They are in too many cases made vulgar, puerile, barbarous. They are neither fish nor flesh, and with all the point that's left out and all the naivete that's put in, they cease to place before us any coherent appeal or any recognizable society.

Auberon. They often make good plays to act, all the same.

Dorriforth. They may; but they don't make good plays to see or to hear. The theatre consists of two things, que diable—of the stage and the drama, and I don't see how you can have it unless you have both, or how you can have either unless you have the other. They are the two blades of a pair of scissors.

Auberon. You are very unfair to native talent. There are lots of strictly original plays—

Amicia. Yes, they put that expression on the posters.

Auberon. I don't know what they put on the posters; but the plays are written and acted—produced with great success.

Dorriforth. Produced—partly. A play isn't fully produced until it is in a form in which you can refer to it. We have to talk in the air. I can refer to my Congreve, but I can't to my Pinero. {*}

* Since the above was written several of Mr. Pinero's plays have been published.

Florentia. The authors are not bound to publish them if they don't wish.

Dorriforth. Certainly not, nor are they in that case bound to insist on one's not being a little vague about them. They are perfectly free to withhold them; they may have very good reasons for it, and I can imagine some that would be excellent and worthy of all respect. But their withholding them is one of the signs.

Auberon. What signs?

Dorriforth. Those I just spoke of—those we are trying to read together. The signs that ambition and desire are folly, that the sun of the drama has set, that the matter isn't worth talking about, that it has ceased to be an interest for serious folk, and that everything—everything, I mean, that's anything—is over. The sooner we recognize it the sooner to sleep, the sooner we get clear of misleading illusions and are purged of the bad blood that disappointment makes. It's a pity, because the theatre—after every allowance is made—might have been a fine thing. At all events it was a pleasant—it was really almost a noble—dream. Requiescat!

Florentia. I see nothing to confirm your absurd theory. I delight in the play; more people than ever delight in it with me; more people than ever go to it, and there are ten theatres in London where there were two of old.

Dorriforth. Which is what was to demonstrated. Whence do they derive their nutriment?

Auberon. Why, from the enormous public.

Dorriforth. My dear fellow, I'm not talking of the box-office. What wealth of dramatic, of histrionic production have we to meet that enormous demand? There will be twenty theatres ten years hence where there are ten to-day, and there will be, no doubt, ten times as many people "delighting in them," like Florentla. But it won't alter the fact that our dream will have been dreamed. Florentia said a word when we came in which alone speaks volumes.

Florentia. What was my word?

Auberon. You are sovereignly unjust to native talent among the actors—I leave the dramatists alone. There are many who do excellent, independent work; strive for perfection, completeness—in short, the things we want.

Dorriforth. I am not in the least unjust to them—I only pity them: they have so little to put sous la dent. It must seem to them at times that no one will work for them, that they are likely to starve for parts—forsaken of gods and men.

Florentia. If they work, then, in solitude and sadness, they have the more honor, and one should recognize more explicitly their great merit.

Dorriforth. Admirably said. Their laudable effort is precisely the one little loop-hole that I see of escape from the general doom. Certainly we must try to enlarge it—that small aperture into the blue. We must fix our eyes on it and make much of it, exaggerate it, do anything with it tha may contribute to restore a working faith. Precious that must be to the sincere spirits on the stage who are conscious of all the other things—formidable things—that rise against them.

Amicia. What other things do you mean?

Dorriforth. Why, for one thing, the grossness and brutality of London, with its scramble, its pressure, its hustle of engagements, of preoccupations, its long distances, its late hours, its nightly dinners, its innumerable demands on the attention, its general congregation of influences fatal to the isolation, to the punctuality, to the security, of the dear old playhouse spell. When Florentia said in her charming way—

Florentia. Here's my dreadful speech at last.

Dorriforth. When you said that you went to the Theatre Libre in the afternoon because you couldn't spare an evening, I recognized the death-knell of the drama. Time, the very breath of its nostrils, is lacking. Wagner was clever to go to leisurely Bayreuth among the hills—the Bayreuth of spacious days, a paradise of "development."

Talk to a London audience of "development!" The long runs would, if necessary, put the whole question into a nutshell. Figure to yourself, for then the question is answered, how an intelligent actor must loathe them, and what a cruel negation he must find in them of the artistic life, the life of which the very essence is variety of practice, freshness of experiment, and to feel that one must do many things in turn to do any one of them completely.

Auberon. I don't in the least understand your acharnement, in view of the vagueness of your contention.

Dorriforth. My acharnement is your little joke, and my contention is a little lesson in philosophy.

Florentia. I prefer a lesson in taste. I had one the other night at the "Merry Wives."

Dorriforth. If you come to that, so did I!

Amicia. So she does spare an evening sometimes.

Florentia. It was all extremely quiet and comfortable, and I don't in the least recognize Dorriforth's lurid picture of the dreadful conditions. There was no scenery—at least not too much; there was just enough, and it was very pretty, and it was in its place.

Dorriforth. And what else was there?

Florentia. There was very good acting.

Amicia. I also went, and I thought it all, for a sportive, wanton thing, quite painfully ugly.

Auberon. Uglier than that ridiculous black room, with the invisible people groping about in it, of your precious "Duc d'Enghien?"

Dorriforth. The black room is doubtless not the last word of art, but it struck me as a successful application of a happy idea. The contrivance was perfectly simple—a closer night effect than is usually attempted, with a few guttering candles, which threw high shadows over the bare walls, on the table of the court-martial. Out of the gloom came the voices and tones of the distinguishable figures, and it is perhaps a fancy of mine that it made them—given the situation, of course—more impressive and dramatic.

Auberon. You rail against scenery, but what could belong more to the order of things extraneous to what you perhaps a little priggishly call the delicacy of personal art than the arrangement you are speaking of?

Dorriforth. I was talking of the abuse of scenery. I never said anything so idiotic as that the effect isn't helped by an appeal to the eye and an adumbration of the whereabouts.

Auberon. But where do you draw the line and fix the limit? What is the exact dose?

Dorriforth. It's a question of taste and tact.

Florentia. And did you find taste and tact in that coal-hole of the Theatre Libre?

Dorriforth. Coal-hole is again your joke. I found a strong impression in it—an impression of the hurried, extemporized cross-examination, by night, of an impatient and mystified prisoner, whose dreadful fate had been determined in advance, who was to be shot, high-handedly, in the dismal dawn. The arrangement didn't worry and distract me: it was simplifying, intensifying. It gave, what a judicious mise-en-scene should always do, the essence of the matter, and left the embroidery to the actors.

Florentia. At the "Merry Wives," where you could see your hand before your face, I could make out the embroidery.

Dorriforth. Could you, under Falstaff's pasteboard cheeks and the sad disfigurement of his mates? There was no excess of scenery, Auberon says. Why, Falstaff's very person was nothing but scenery. A false face, a false figure, false hands, false legs—scarcely a square inch on which the irrepressible humor of the rogue could break into illustrative touches. And he is so human, so expressive, of so rich a physiognomy. One would rather Mr. Beerbohm Tree should have played the part in his own clever, elegant slimness—-that would at least have represented life. A Falstaff all "make-up" is an opaque substance. This seems to me an example of what the rest still more suggested, that in dealing with a production like the "Merry Wives" really the main quality to put forward is discretion. You must resolve such a production, as a thing represented, into a tone that the imagination can take an aesthetic pleasure in. Its grossness must be transposed, as it were, to a fictive scale, a scale of fainter tints and generalized signs. A filthy, eruptive, realistic Bardolph and Pistol overlay the romantic with the literal. Relegate them and blur them, to the eye; let their blotches be constructive and their raggedness relative.

Amicia. Ah, it was so ugly!

Dorriforth. What a pity then, after all, there wasn't more painted canvas to divert you! Ah, decidedly, the theatre of the future must be that.

Florentia. Please remember your theory that our life's a scramble, and suffer me to go and dress for dinner.

1889.

THE END