Those who remember the Fairy opera of Hansel and Gretel on the stage in London, will not have forgotten in the witching memory of all the charms of scenery and setting, how the scene where the witch of the wood, who was planning out the baking of the little hero and heroine in her oven, having “fatted” them up well, to make sweet her eating of them, was by the coolness and cleverness of the heroine locked in her own oven and baked there, literally brought down the house. She received exactly what she had planned to give those children, whom their own cruel parents had unwittingly, by losing the children in the wood, put into her hands. Quaint, naïve, half-grotesque it was in conception, yet the truth of all drama was there actively exhibited, and all casuistic pleading of excuses of some sort, even of justification for the witch (that it was her nature; heredity in her aworking, etc., etc.) would have not only been out of place, but hotly resented by that audience. Now, Stevenson, if he could have made up his mind to have the witch locked in her own oven, would most assuredly have tried some device to get her out by some fairy witch-device or magic slide at the far end of it, and have proceeded to paint for us the changed character that she was after she had been so outwitted by a child, and her witchdom proved after all of little effect. He would have put probably some of the most effective moralities into her mouth if indeed he would not after all have made the witch a triumph on his early principle of bad-heartedness being strength. If this is the sort of falsification which the play demands, and is of all tastes the most ungrateful, then, it is clear, that for full effect of the drama it is essential to it; but what is primary in it is the direct answering to certain immediate and instinctive demands in common human nature, the doing of which is far more effective than no end of deep philosophy to show how much better human nature would be if it were not just quite thus constituted. “Concentration,” says Mr Pinero, “is first, second, and last in it,” and he goes on thus, as reported in the Scotsman, to show Stevenson’s defect and mistake and, as is not, of course, unnatural, to magnify the greatness and grandeur of the style of work in which he has himself been so successful.
“If Stevenson had ever mastered that art — and I do not question that if he had properly conceived it he had it in him to master it — he might have found the stage a gold mine, but he would have found, too, that it is a gold mine which cannot be worked in a smiling, sportive, half-contemptuous spirit, but only in the sweat of the brain, and with every mental nerve and sinew strained to its uttermost. He would have known that no ingots are to be got out of this mine, save after sleepless nights, days of gloom and discouragement, and other days, again, of feverish toil, the result of which proves in the end to be misapplied and has to be thrown to the winds. . . . When you take up a play-book (if ever you do take one up) it strikes you as being a very trifling thing — a mere insubstantial pamphlet beside the imposing bulk of the latest six-shilling novel. Little do you guess that every page of the play has cost more care, severer mental tension, if not more actual manual labour, than any chapter of a novel, though it be fifty pages long. It is the height of the author’s art, according to the old maxim, that the ordinary spectator should never be clearly conscious of the skill and travail that have gone to the making of the finished product. But the artist who would achieve a like feat must realise its difficulties, or what are his chances of success?”
But what I should, in little, be inclined to say, in answer to the “concentration” idea is that, unless you have first some firm hold on the broad bed-rock facts of human nature specially appealed to or called forth by the drama, you may concentrate as much as you please, but you will not write a successful acting drama, not to speak of a great one. Mr Pinero’s magnifications of the immense effort demanded from him must in the end come to mean that he himself does not instinctively and with natural ease and spontaneity secure this, but secures it only after great conscious effort; and hence, perhaps, it is that he as well as so many other modern playwrights fall so far behind alike in the amount turned out, and also in its quality as compared with the products of many playwrights in the past.
The problem drama, in every phase and turn of it, endeavours to dispense with these fundamental demands implied in the common and instinctive sense or consciousness of the mass of men and women, and to substitute for that interest something which will artificially supersede it, or, at any rate, take its place. The interest is transferred from the crises necessarily worked up to in the one case, with all of situation and dialogue directed to it, and without which it would not be strictly explicable, to something abnormal, odd, artificial or inverted, or exceptional in the characters themselves. Having thus, instead of natural process and sequence, if we may put it so, the problem dramatist has a double task — he must gain what unity he can, and reach such crises as he may by artificial aids and inventions which the more he uses the more makes natural simplicity unattainable; and next he must reduce and hide as far as he can the abnormality he has, after all, in the long run, created and presented. He cannot maintain it to the full, else his work would become a mere medical or psychological treatise under the poorest of disguises; and the very necessity for the action and reaction of characters upon each other is a further element against him. In a word no one character can stand alone, and cannot escape influencing others, and also the action. Thus it is that he cannot isolate as a doctor does his patient for scientific examination. The healthy and normal must come in to modify on all sides what is presented of unhealthy and abnormal, and by its very presence expose the other, while at the same time it, by its very presence, ministers improvement, exactly as the sunlight disperses mist and all unhealthy vapours, germs, and microbes.
The problem dramatist, in place of broad effect and truth to nature, must find it in stress of invention and resource of that kind. Thus care and concentration must be all in all with him — he must never let himself go, or get so interested and taken with his characters that they, in a sense, control or direct him. He is all too conscious a “maker” and must pay for his originality by what in the end is really painful and overweighted work. This, I take it, is the reason why so many of the modern dramatists find their work so hard, and are, comparatively, so slow in the production of it, while they would fain, by many devices, secure the general impression or appeal made to all classes alike by the natural or what we may call spontaneous drama, they are yet, by the necessity of subject matter and methods of dealing with it, limited to the real interest of a special class — to whom is finally given up what was meant for mankind — and the troublesome and trying task laid on them, to try as best they may to reconcile two really conflicting tendencies which cannot even by art be reconciled but really point different ways and tend to different ends. As the impressionist and the pre-Raphaelite, in the sister-art of painting cannot be combined and reconciled in one painter — so it is here; by conception and methods they go different ways, and if they seek the same end, it is by opposing processes — the original conception alike of nature and of art dictating the process.
As for Stevenson, it was no lack of care or concentration in anything that he touched; these two were never lacking, but because his subtlety, mystical bias and dreaminess, and theorising on human nature made this to him impossible. He might have concentrated as much as he pleased, concentrated as much as even Mr Pinero desires, but he would not have made a successful drama, because he was Robert Louis Stevenson, and not Mr Pinero, and too long, as he himself confessed, had a tendency to think bad-heartedness was strength; while the only true and enduring joy attainable in this world — whether by deduction from life itself, or from impressions of art or of the drama, is simply the steady, unassailable, and triumphant consciousness that it is not so, but the reverse, that goodness and self-sacrifice and self-surrender are the only strength in the universe. Just as Byron had it with patriotism: —
“Freedom’s battle once begun,
Bequeathed from bleeding sire to son,
Tho’ baffled oft is ever won.”
&
nbsp; To go consciously either in fiction or in the drama for bad-heartedness as strength, is to court failure — the broad, healthy, human heart, thank Heaven, is so made as to resent the doctrine; and if a fiction or a play based on this idea for the moment succeeds, it can only be because of strength in other elements, or because of partial blindness and partially paralysed moral sense in the case of those who accept it and joy in it. If Mr Pinero directly disputes this, then he and I have no common standing-ground, and I need not follow the matter any further. Of course, the dramatist may, under mistaken sympathy and in the midst of complex and bewildering concatenations, give wrong readings to his audience, but he must not be always doing even that, or doing it on principle or system, else his work, however careful and concentrated, will before long share the fate of the Stevenson-Henley dramas confessedly wrought when the authors all too definitely held bad-heartedness was strength.
CHAPTER XV — THEORY OF GOOD AND EVIL
We have not hitherto concerned ourselves, in any express sense, with the ethical elements involved in the tendency now dwelt on, though they are, of necessity, of a very vital character. We have shown only as yet the effect of this mood of mind on dramatic intention and effort. The position is simply that there is, broadly speaking, the endeavour to eliminate an element which is essential to successful dramatic presentation. That element is the eternal distinction, speaking broadly, between good and evil — between right and wrong — between the secret consciousness of having done right, and the consciousness of mere strength and force in certain other ways.
Nothing else will make up for vagueness and cloudiness here — no technical skill, no apt dialogue nor concentration, any more than “fine speeches,” as Mr Pinero calls them. Now the dramatic demand and the ethical demand here meet and take each other’s hands, and will not be separated. This is why Mr Stevenson and Mr Henley — young men of great talent, failed — utterly failed — they thought they could make a hero out of a shady and dare-devil yet really cowardly villain generally — and failed.
The spirit of this is of the clever youth type — all too ready to forego the moral for the sake of the fun any day of the week, and the unthinking selfishness and self-enjoyment of youth — whose tender mercies are often cruel, are transcendent in it. As Stevenson himself said, they were young men then and fancied bad-heartedness was strength. Perhaps it was a sense of this that made R. L. Stevenson speak as he did of the Ebb-Tide with Huish the cockney in it, after he was powerless to recall it; which made him say, as we have seen, that the closing chapters of The Master of Ballantrae “shame, and perhaps degrade, the beginning.” He himself came to see then the great error; but, alas! it was too late to remedy it — he could but go forward to essay new tales, not backward to put right errors in what was done.
Did Mr William Archer have anything of this in his mind and the far-reaching effects on this side, when he wrote the following:
“Let me add that the omission with which, in 1885, I mildly reproached him — the omission to tell what he knew to be an essential part of the truth about life — was abundantly made good in his later writings. It is true that even in his final philosophy he still seems to me to underrate, or rather to shirk, the significance of that most compendious parable which he thus relates in a letter to Mr Henry James:— ‘Do you know the story of the man who found a button in his hash, and called the waiter? “What do you call that?” says he. “Well,” said the waiter, “what d’you expect? Expect to find a gold watch and chain?” Heavenly apologue, is it not?’ Heavenly, by all means; but I think Stevenson relished the humour of it so much that he ‘smiling passed the moral by.’ In his enjoyment of the waiter’s effrontery, he forgot to sympathise with the man (even though it was himself) who had broken his teeth upon the harmful, unnecessary button. He forgot that all the apologetics in the world are based upon just this audacious paralogism.”
Many writers have done the same — and not a few critics have hinted at this: I do not think any writer has got at the radical truth of it more directly, decisively, and clearly than “J. F. M.,” in a monthly magazine, about the time of Stevenson’s death; and the whole is so good and clear that I must quote it — the writer was not thinking of the drama specially; only of prose fiction, and this but makes the passage the more effective and apt to my point.
“In the outburst of regret which followed the death of Robert Louis Stevenson, one leading journal dwelt on his too early removal in middle life ‘with only half his message delivered.’ Such a phrase may have been used in the mere cant of modern journalism. Still it set one questioning what was Stevenson’s message, or at least that part of it which we had time given us to hear.
“Wonderful as was the popularity of the dead author, we are inclined to doubt whether the right appreciation of him was half as wide. To a certain section of the public he seemed a successful writer of boys’ books, which yet held captive older people. Now, undoubtedly there was an element (not the highest) in his work which fascinated boys. It gratified their yearning for adventure. To too large a number of his readers, we suspect, this remains Stevenson’s chief charm; though even of those there were many able to recognise and be thankful for the literary power and grace which could serve up their sanguinary diet so daintily.
“Most of Stevenson’s titles, too, like Treasure Island, Kidnapped, and The Master of Ballantrae, tended to foster delusion in this direction. The books were largely bought for gifts by maiden aunts, and bestowed as school prizes, when it might not have been so had their titles given more indication of their real scope and tendency.
“All this, it seems to us, has somewhat obscured Stevenson’s true power, which is surely that of an arch-delineator of ‘human nature’ and of the devious ways of men. As we read him we feel that we have our finger on the pulse of the cruel politics of the world. He has the Shakespearean gift which makes us recognise that his pirates and his statesmen, with their violence and their murders and their perversions of justice, are swayed by the same interests and are pulling the same strings and playing on the same passions which are at work in quieter methods around ourselves. The vast crimes and the reckless bloodshed are nothing more nor less than stage effects used to accentuate for the common eye what the seer can detect without them.
“And reading him from this standpoint, Stevenson’s ‘message’ (so far as it was delivered) appears to be that of utter gloom — the creed that good is always overcome by evil. We do not mean in the sense that good always suffers through evil and is frequently crucified by evil. That is only the sowing of the martyr’s blood, which is, we know, the seed of the Church. We should not have marvelled in the least that a genius like Stevenson should rebel against mere external ‘happy endings,’ which, being in flat contradiction to the ordinary ways of Providence, are little short of thoughtless blasphemy against Providence. But the terrible thing about the Stevenson philosophy of life is that it seems to make evil overcome good in the sense of absorbing it, or perverting it, or at best lowering it. When good and evil come in conflict in one person, Dr Jekyll vanishes into Mr Hyde. The awful Master of Ballantrae drags down his brother, though he seems to fight for his soul at every step. The sequel to Kidnapped shows David Balfour ready at last to be hail-fellow-well-met with the supple Prestongrange and the other intriguers, even though they had forcibly made him a partner to their shedding of innocent blood.
“Is it possible that this was what Stevenson’s experience of real life had brought him? Fortunate himself in so many respects, he was yet one of those who turn aside from the smooth and sunny paths of life, to enter into brotherly sympathy and fellowship with the disinherited. Is this, then, what he found on those darker levels? Did he discover that triumphant hypocrisy treads down souls as well as lives?
“We cannot doubt that it often does so; and it is well that we should see this sometimes, to make us strong to contend with evil before it works out this, its worst mischief, and to rouse us from the easy optimist laziness which sits idle
while others are being wronged, and bids them believe ‘that all will come right in the end,’ when it is our direct duty to do our utmost to make it ‘come right’ to-day.
“But to show us nothing but the gloomy side, nothing but the weakness of good, nothing but the strength of evil, does not inspire us to contend for the right, does not inform us of the powers and weapons with which we might so contend. To gaze at unqualified and inevitable moral defeat will but leave us to the still worse laziness of pessimism, uttering its discouraging and blasphemous cry, ‘It does not matter; nothing will ever come right!’
“Shakespeare has shown us — and never so nobly as in his last great creation of The Tempest — that a man has one stronghold which none but himself can deliver over to the enemy — that citadel of his own conduct and character, from which he can smile supreme upon the foe, who may have conquered all down the line, but must finally make pause there.
“We must remember that The Tempest was Shakespeare’s last work. The genuine consciousness of the possible triumph of the moral nature against every assault is probably reserved for the later years of life, when, somewhat withdrawn from the passions of its struggle, we become those lookers-on who see most of the game. Strange fate is it that so much of our genius vanishes into the great silence before those later years are reached!”
Complete Works of Robert Louis Stevenson Page 867