"Shakespeare never experienced the myriad situations he subjected his characters to--how could he--except perhaps subliminally. Jules Verne must have employed a similar type of wish fulfillment with his prophetic writings that splashed a hundred years into the present. What I propose doing is to animate my earliest atavistic yearnings in a like fashion. I hope to give scenarios embedded in the innermost recesses of my psyche time to materialize, to exude from the substance of dynamic characterization. In short, the cave wall pictures Plato mentioned, hitherto until now dim and elusive flickers, will become flesh and bone entities within their own right."
Wenceslaus reached back propping a foot against the table containing an old woodcut with some masking tape and a copy of Stendal's Rouge et le Noir. I thought of him subconsciously acting out the role of his many anti-heroes by parading their values through the pages of his many would-be books. Rather impatiently I moved to counter his studied expression.
"And what of actual events rooted in your own experience? How will you give your characters real presence, an allowance to take away from them unintentional archetypes or woodiness? What are your chances of breathing life into these shadow forms without some common backdrop with which to share a basic empathy?"
He continued to maintain his stare, not even breaking the gaze to light a cigarette or reach for his mug of coffee. He replied with a little annoyance.
"Words, nothing but smoke screens to conceal a bankruptcy of the thought process. How on earth do you propose I make love to every woman alive, explore every crevice of this earth? Surely, you aren't serious with this mumble about animating characters. I propose to let the characters speak of real ingredients through the force of actual events."
"Animation is for cartoons, not serious playwrights. I'm surprised at you," he went on. "What you are advocating is a bilateral pool of shared traits. I venture to say such a thing is not only patently absurd but unnecessary." He had let the coffee grow cold and turned to it with renewed annoyance.
The wind, it seemed, too, was expressing a little of the afternoon's short-tempered.
"Pity we live in this climate. All bluster and snow. Hardly the stuffing from which romantic heroes are made," he said stiffly.
"And what of Tolstoy, London, or Service?" I nearly whined back at him. "They used lack of glamour in their settings to their advantage. Primeval landscapes are not only physical but the force behind many a fanciful mind. That's the artificiality I was concerned with earlier. Next you will be playing the Gauguin adventurer convinced your lack of inspiration or ready talent is attributable to March weariness rather than to personal shortcomings. You will spend all your time searching for that thatched cottage in picturesque Arly country."
"Let me offer some more unwanted advice," I said, renewing the attack. "Remember the example of William Turner, the English landscape painter? He embodied in this next example what I attempted to clarify by argument. In crossing to Calais he had himself strapped to the mast at storm's height so that he might better witness the pummeling of his own ship. A breakthrough in the use of colour lead to the hey day of romanticism and preparation for neo-impressionism. This all came through one man's willingness to live events in the flesh not by haphazard random reading."