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Read Ebook: On Something by Belloc Hilaire
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Ebook has 724 lines and 60861 words, and 15 pages
A PLEA FOR THE SIMPLER DRAMA
ON A NOTEBOOK
ON UNKNOWN PEOPLE
ON A VAN TROMP
HIS CHARACTER
ON THRUPPENNY BITS
ON THE HOTEL AT PALMA AND A PROPOSED GUIDE-BOOK
THE DEATH OF WANDERING PETER
THE TREE OF KNOWLEDGE
A NORFOLK MAN
THE ODD PEOPLE
LETTER OF ADVICE AND APOLOGY TO A YOUNG BURGLAR
THE MONKEY QUESTION: AN APPEAL TO COMMON SENSE
THE EMPIRE BUILDER
CAEDWALLA
A UNIT OF ENGLAND
THE RELIC
THE IRONMONGER
A FORCE IN GAUL
ON BRIDGES
A BLUE BOOK
PERIGEUX OF THE PERIGORD
THE POSITION
HOME
THE WAY TO FAIRYLAND
THE PORTRAIT OF A CHILD
ON EXPERIENCE
ON IMMORTALITY
ON SACRAMENTAL THINGS
IN PATRIA
A PLEA FOR THE SIMPLER DRAMA
It is with the drama as with plastic art and many other things: the plain man feels that he has a right to put in his word, but he is rather afraid that the art is beyond him, and he is frightened by technicalities.
After all, these things are made for the plain man; his applause, in the long run and duly tested by time, is the main reward of the dramatist as of the painter or the sculptor. But if he is sensible he knows that his immediate judgment will be crude. However, here goes.
The plain man sees that the drama of his time has gradually passed from one phase to another of complexity in thought coupled with simplicity of incident, and it occurs to him that just one further step is needed to make something final in British art. We seem to be just on the threshold of something which would give Englishmen in the twentieth century something of the fullness that characterized the Elizabethans: but somehow or other our dramatists hesitate to cross that threshold. It cannot be that their powers are lacking: it can only be some timidity or self-torture which it is the business of the plain man to exorcise.
If I may make a suggestion in this essay to the masters of the craft it is that the goal of the completely modern thing can best be reached by taking the very simplest themes of daily life--things within the experience of the ordinary citizen--and presenting them in the majestic traditional cadence of that peculiarly English medium, blank verse.
As to the themes taken from the everyday life of middle-class men and women like ourselves, it is true that the lives of the wealthy afford more incident, and that there is a sort of glamour about them which it is difficult to resist. But with a sufficient subtlety the whole poignancy of the lives led by those who suffer neither the tragedies of the poor nor the exaltation of the rich can be exactly etched. The life of the professional middle-class, of the business man, the dentist, the money-lender, the publisher, the spiritual pastor, nay of the playwright himself, might be put upon the stage--and what a vital change would be here! Here would be a kind of literary drama of which the interest would lie in the struggle, the pain, the danger, and the triumph which we all so intimately know, and next in the satisfaction of the mimetic sense--the satisfaction of seeing a mirror held up to a whole audience composed of the very class represented upon the stage.
I think we may take it, then, that an experiment in the depicting of professional life would, even from the financial standpoint, be workable; and I would even go so far as to suggest that a play could be written in which there did not appear one single lord, general, Member of Parliament, baronet, professional beauty, usurer or Cabinet Minister.
The thing is possible: and I can modestly say that in the little effort appended as an example to these lines it has been done successfully; but here must be mentioned the second point in my thesis--I could never have achieved what I have here achieved in dramatic art had I not harked back to the great tradition of the English heroic decasyllable such as our Shakespeare has handled with so felicitous an effect.
The play--which I have called "The Crisis," and which I design to be the model of the school founded by these present advices--is specially designed for acting with the sumptuous accessories at the disposal of a great manager, such as Mr. Beerbohm Tree, or for the narrower circumstances of the suburban drawing-room.
There is perhaps but one character which needs any long rehearsal, that of the dog Fido, and luckily this is one which can easily be supplied by mechanical means, as by the use of a toy dog of sufficient size which barks upon the pressure of a pneumatic attachment.
THE CRISIS
DRAMATIS PERSONAE
MRS. HAVERTON: His Wife.
MISS GROSVENOR: A Governess.
MATILDA: A Maid.
FIDO: A Dog.
HERMIONE COBLEY: Daughter of a cottager who takes in washing.
MISS HARVEY: A guest, cousin to Mrs. Haverton, a Unitarian.
MRS. HAVERTON: My dear--I hope I do not interrupt you-- Helen has given notice.
MRS. HAVERTON: Well, but she has, and now the question is, What shall we do to find another cook? Servants are very difficult to get. Especially to come into the country To such a place as this. No wonder, either! Oh! Mercy! When one comes to think of it, One cannot blame them. Heaven only knows I try to do my duty!
FIDO: Bow! wow! wow!
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