Nor is this an illegitimate or irrelevant19 deduction20. This and a hundred other fantasies might follow if once we admit the first principle that we need to realize on the stage not merely the beauty of silver, but the value of silver. Shakespeare’s famous phrase that art should hold the mirror up to nature is always taken as wholly realistic; but it is really idealistic and symbolic—at least, compared with the realism of His Majesty’s. Art is a mirror not because it is the same as the object, but because it is different. A mirror selects as much as art selects; it gives the light of flames, but not their heat; the colour of flowers, but not their fragrance21; the faces of women, but not their voices; the proportions of stockbrokers22, but not their solidity. A mirror is a vision of things, not a working model of them. And the silver seen in a mirror is not for sale.
But the results of the thing in practice are worse than its wildest results in theory. This Arabian extravagance in the furniture and decoration of a play has one very practical disadvantage—that it narrows the number of experiments, confines them to a small and wealthy class, and makes those which are made exceptional, erratic23, and unrepresentative of any general dramatic activity. One or two insanely expensive works prove nothing about the general state of art in a country. To take the parallel of a performance somewhat less dignified24, perhaps, than Sir Herbert Tree’s, there has lately been in America an exhibition not unanalogous to a conflict in the arena, and one for which a real negro actually was procured25 by the management. The negro happened to beat the white man, and both before and after this event people went about wildly talking of “the White Man’s champion” and “the representative of the Black Race.” All black men were supposed to have triumphed over all white men in a sort of mysterious Armageddon because one specialist met another specialist and tapped his claret or punched him in the bread-basket.
Now the fact is, of course, that these two prize-fighters were so specially picked and trained—the business of producing such men is so elaborate, artificial, and expensive—that the result proves nothing whatever about the general condition of white men or black. If you go in for heroes or monsters it is obvious that they may be born anywhere. If you took the two tallest men on earth, one might be born in Corea and the other in Camberwell, but this would not make Camberwell a land of giants inheriting the blood of Anak. If you took the two thinnest men in the world, one might be a Parisian and the other a Red Indian. And if you take the two most scientifically developed pugilists, it is not surprising that one of them should happen to be white and the other black. Experiments of so special and profuse26 a kind have the character of monstrosities, like black tulips or blue roses. It is absurd to make them representative of races and causes that they do not represent. You might as well say that the Bearded Lady at a fair represents the masculine advance of modern woman; or that all Europe was shaking under the banded armies of Asia, because of the co-operation of the Siamese Twins.
So the plutocratic27 tendency of such performances as Henry VIII is to prevent rather than to embody28 any movement of historical or theatrical7 imagination. If the standard of expenditure29 is set so high by custom, the number of competitors must necessarily be small, and will probably be of a restricted and unsatisfactory type. Instead of English history and English literature being as cheap as silver paper, they will be as dear as silver plate. The national culture, instead of being spread out everywhere like gold leaf, will be hardened into a few costly30 lumps of gold—and kept in very few pockets. The modern world is full of things that are theoretically open and popular, but practically private and even corrupt31. In theory any tinker can be chosen to speak for his fellow-citizens among the English Commons. In practice he may have to spend a thousand pounds on getting elected—a sum which many tinkers do not happen to have to spare. In theory it ought to be possible for any moderately successful actor with a sincere and interesting conception of Wolsey to put that conception on the stage. In practice it looks as if he would have to ask himself, not whether he was as clever as Wolsey, but whether he was as rich. He has to reflect, not whether he can enter into Wolsey’s soul, but whether he can pay Wolsey’s servants, purchase Wolsey’s plate, and own Wolsey’s palaces.
Now people with Wolsey’s money and people with Wolsey’s mind are both rare; and even with him the mind came before the money. The chance of their being combined a second time is manifestly small and decreasing. The result will obviously be that thousands and millions may be spent on a theatrical misfit, and inappropriate and unconvincing impersonation; and all the time there may be a man outside who could have put on a red dressing-gown and made us feel in the presence of the most terrible of the Tudor statesmen. The modern method is to sell Shakespeare for thirty pieces of silver.
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1 sumptuous | |
adj.豪华的,奢侈的,华丽的 | |
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2 urns | |
n.壶( urn的名词复数 );瓮;缸;骨灰瓮 | |
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3 goblets | |
n.高脚酒杯( goblet的名词复数 ) | |
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4 specially | |
adv.特定地;特殊地;明确地 | |
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5 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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6 bombastic | |
adj.夸夸其谈的,言过其实的 | |
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7 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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8 theatricals | |
n.(业余性的)戏剧演出,舞台表演艺术;职业演员;戏剧的( theatrical的名词复数 );剧场的;炫耀的;戏剧性的 | |
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9 mere | |
adj.纯粹的;仅仅,只不过 | |
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10 sham | |
n./adj.假冒(的),虚伪(的) | |
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11 veneer | |
n.(墙上的)饰面,虚饰 | |
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12 arduous | |
adj.艰苦的,费力的,陡峭的 | |
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13 applied | |
adj.应用的;v.应用,适用 | |
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14 ordained | |
v.任命(某人)为牧师( ordain的过去式和过去分词 );授予(某人)圣职;(上帝、法律等)命令;判定 | |
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15 nay | |
adv.不;n.反对票,投反对票者 | |
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16 lamented | |
adj.被哀悼的,令人遗憾的v.(为…)哀悼,痛哭,悲伤( lament的过去式和过去分词 ) | |
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17 arena | |
n.竞技场,运动场所;竞争场所,舞台 | |
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18 goriness | |
n.血淋淋的景象 | |
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19 irrelevant | |
adj.不恰当的,无关系的,不相干的 | |
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20 deduction | |
n.减除,扣除,减除额;推论,推理,演绎 | |
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21 fragrance | |
n.芬芳,香味,香气 | |
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22 stockbrokers | |
n.股票经纪人( stockbroker的名词复数 ) | |
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23 erratic | |
adj.古怪的,反复无常的,不稳定的 | |
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24 dignified | |
a.可敬的,高贵的 | |
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25 procured | |
v.(努力)取得, (设法)获得( procure的过去式和过去分词 );拉皮条 | |
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26 profuse | |
adj.很多的,大量的,极其丰富的 | |
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27 plutocratic | |
adj.富豪的,有钱的 | |
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28 embody | |
vt.具体表达,使具体化;包含,收录 | |
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29 expenditure | |
n.(时间、劳力、金钱等)支出;使用,消耗 | |
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30 costly | |
adj.昂贵的,价值高的,豪华的 | |
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31 corrupt | |
v.贿赂,收买;adj.腐败的,贪污的 | |
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