The Works of Robert G. Ingersoll, Complete Contents / Dresden Edition—Twelve Volumes

by Robert Green Ingersoll

Question. What, in your estimation, is the value of the drama as a factor in our social life at the present time?

Answer. I believe that the plays of Shakespeare are the most valuable things in the possession of the human race. No man can read and understand Shakespeare without being an intellectually developed man. If Shakespeare could be as widely circulated as the Bible—if all the Bible societies would break the plates they now have and print Shakespeare, and put Shakespeare in all the languages of the world, nothing would so raise the intellectual standard of mankind. Think of the different influence on men between reading Deuteronomy and "Hamlet" and "King Lear"; between studying Numbers and the "Midsummer Night's Dream"; between pondering over the murderous crimes and assassinations in Judges, and studying "The Tempest" or "As You Like It." Man advances as he develops intellectually. The church teaches obedience. The man who reads Shakespeare has his intellectual horizon enlarged. He begins to think for himself, and he enjoys living in a new world. The characters of Shakespeare become his acquaintances. He admires the heroes, the philosophers; he laughs with the clowns, and he almost adores the beautiful women, the pure, loving, and heroic women born of Shakespeare's heart and brain. The stage has amused and instructed the world. It had added to the happiness of mankind. It has kept alive all arts. It is in partnership with all there is of beauty, of poetry, and expression. It goes hand in hand with music, with painting, with sculpture, with oratory, with philosophy, and history. The stage has humor. It abhors stupidity. It despises hypocrisy. It holds up to laughter the peculiarities, the idiosyncrasies, and the little insanities of mankind. It thrusts the spear of ridicule through the shield of pretence. It laughs at the lugubrious and it has ever taught and will, in all probability, forever teach, that Man is more than a title, and that human love laughs at all barriers, at all the prejudices of society and caste that tend to keep apart two loving hearts.

Question. What is your opinion of the progress of the drama in educating the artistic sense of the community as compared with the progress of the church as an educator of the moral sentiment?

Answer. Of course, the stage is not all good, nor is—and I say this with becoming modesty—the pulpit all bad. There have been bad actors and there have been good preachers. There has been no improvement in plays since Shakespeare wrote. There has been great improvement in theatres, and the tendency seems to me be toward higher artistic excellence in the presentation of plays. As we become slowly civilized we will constantly demand more artistic excellence. There will always be a class satisfied with the lowest form of dramatic presentation, with coarse wit, with stupid but apparent jokes, and there will always be a class satisfied with almost anything; but the class demanding the highest, the best, will constantly increase in numbers, and the other classes will, in all probability, correspondingly decrease. The church has ceased to be an educator. In an artistic direction it never did anything except in architecture, and that ceased long ago. The followers of to-day are poor copyists. The church has been compelled to be a friend of, or rather to call in the assistance of, music. As a moral teacher, the church always has been and always will be a failure. The pulpit, to use the language of Frederick Douglass, has always "echoed the cry of the street." Take our own history. The church was the friend of slavery. That institution was defended in nearly every pulpit. The Bible was the auction-block on which the slave-mother stood while her child was sold from her arms. The church, for hundreds of years, was the friend and defender of the slave-trade. I know of no crime that has not been defended by the church, in one form or another. The church is not a pioneer; it accepts a new truth, last of all, and only when denial has become useless. The church preaches the doctrine of forgiveness. This doctrine sells crime on credit. The idea that there is a God who rewards and punishes, and who can reward, if he so wishes, the meanest and vilest of the human race, so that he will be eternally happy, and can punish the best of the human race, so that he will be eternally miserable, is subversive of all morality. Happiness ought to be the result of good actions. Happiness ought to spring from the seed a man sows himself. It ought not to be a reward, it ought to be a consequence, and there ought to be no idea that there is any being who can step between action and consequence. To preach that a man can abuse his wife and children, rob his neighbors, slander his fellow-citizens, and yet, a moment or two before he dies, by repentance become a glorified angel is, in my judgment, immoral. And to preach that a man can be a good man, kind to his wife and children, an honest man, paying his debts, and yet, for the lack of a certain belief, the moment after he is dead, be sent to an eternal prison, is also immoral. So that, according to my opinion, while the church teaches men many good things, it also teaches doctrines subversive of morality. If there were not in the whole world a church, the morality of man, in my judgment, would be the gainer.

Question. What do you think of the treatment of the actor by society in his social relations?

Answer. For a good many years the basis of society has been the dollar. Only a few years ago all literary men were ostracized because they had no money; neither did they have a reading public. If any man produced a book he had to find a patron—some titled donkey, some lauded lubber, in whose honor he could print a few well-turned lies on the fly-leaf. If you wish to know the degradation of literature, read the dedication written by Lord Bacon to James I., in which he puts him beyond all kings, living and dead—beyond Cæsar and Marcus Aurelius. In those days the literary man was a servant, a hack. He lived in Grub Street. He was only one degree above the sturdy vagrant and the escaped convict. Why was this? He had no money and he lived in an age when money was the fountain of respectability. Let me give you another instance: Mozart, whose brain was a fountain of melody, was forced to eat at table with coachmen, with footmen and scullions. He was simply a servant who was commanded to make music for a pudding-headed bishop. The same was true of the great painters, and of almost all other men who rendered the world beautiful by art, and who enriched the languages of mankind. The basis of respectability was the dollar.

Now that the literary man has an intelligent public he cares nothing for the ignorant patron. The literary man makes money. The world is becoming civilized and the literary man stands high. In England, however, if Charles Darwin had been invited to dinner, and there had been present some sprig of nobility, some titled vessel holding the germs of hereditary disease, Darwin would have been compelled to occupy a place beneath him. But I have hopes even for England. The same is true of the artist. The man who can now paint a picture by which he receives from five thousand to fifty thousand dollars, is necessarily respectable. The actor who may realize from one to two thousand dollars a night, or even more, is welcomed in the stupidest and richest society. So with the singers and with all others who instruct and amuse mankind. Many people imagine that he who amuses them must be lower than they. This, however, is hardly possible. I believe in the aristocracy of the brain and heart; in the aristocracy of intelligence and goodness, and not only appreciate but admire the great actor, the great painter, the great sculptor, the marvelous singer. In other words, I admire all people who tend to make this life richer, who give an additional thought to this poor world.

Question. Do you think this liberal movement, favoring the better class of plays, inaugurated by the Rev. Dr. Abbott, will tend to soften the sentiment of the orthodox churches against the stage?

Answer. I have not read what Dr. Abbott has written on this subject. From your statement of his position, I think he entertains quite a sensible view, and, when we take into consideration that he is a minister, a miraculously sensible view. It is not the business of the dramatist, the actor, the painter or the sculptor to teach what the church calls morality. The dramatist and the actor ought to be truthful, ought to be natural—that is to say, truthfully and naturally artistic. He should present pictures of life properly chosen, artistically constructed; an exhibition of emotions truthfully done, artistically done. If vice is presented naturally, no one will fall in love with vice. If the better qualities of the human heart are presented naturally, no one can fail to fall in love with them. But they need not be presented for that purpose. The object of the artist is to present truthfully and artistically. He is not a Sunday school teacher. He is not to have the moral effect eternally in his mind. It is enough for him to be truly artistic. Because, as I have said, a great many times, the greatest good is done by indirection. For instance, a man lives a good, noble, honest and lofty life. The value of that life would be destroyed if he kept calling attention to it—if he said to all who met him, "Look at me!" he would become intolerable. The truly artistic speaks of perfection; that is to say, of harmony, not only of conduct, but of harmony and proportion in everything. The pulpit is always afraid of the passions, and really imagines that it has some influence on men and women, keeping them in the path of virtue. No greater mistake was ever made. Eternally talking and harping on that one subject, in my judgment, does harm. Forever keeping it in the mind by reading passages from the Bible, by talking about the "corruption of the human heart," of the "power of temptation," of the scarcity of virtue, of the plentifulness of vice—all these platitudes tend to produce exactly what they are directed against.

Question. I fear, Colonel, that I have surprised you into agreeing with a clergyman. The following are the points made by the Rev. Dr. Abbott in his editorial on the theatre, and it seems to me that you and he think very much alike—on that subject. The points are these: