It may be said that the difficulty of bringing home to us the reality of a revulsion of feeling, or a radical change of mental attitude, is only a particular case of the playwright's general problem of convincingly externalizing inward conditions and processes. That is true: but the special importance of a conversion which unties the knot and brings the curtain down seemed to render it worthy of special consideration.
CHAPTER XX
BLIND-ALLEY THEMES--AND OTHERS
A blind-alley theme, as its name imports, is one from which there is no exit. It is a problem incapable of solution, or, rather, of which all possible solutions are equally unsatisfactory and undesirable. The playwright cannot too soon make sure that he has not strayed into such a no-thoroughfare. Whether an end be comic or tragic, romantic or ironic, happy or disastrous, it should satisfy something within us--our sense of truth, or of beauty, or of sublimity, or of justice, or of humour, or, at the least or lowest, our cynical sense of the baseness of human nature, and the vanity of human aspirations. But a play which satisfies neither our higher nor our lower instincts, baffles our sympathies, and leaves our desires at fault between equally inacceptable alternatives--such a play, whatever beauties of detail it may possess, is a weariness of the spirit, and an artistic blunder.
There are in literature two conspicuous examples of the blind-alley theme--two famous plays, wherein two heroines are placed in somewhat similar dilemmas, which merely paralyse our sympathies and inhibit our moral judgment. The first of these is Measure for Measure. If ever there was an insoluble problem in casuistry, it is that which Shakespeare has here chosen to present to us. Isabella is forced to choose between what we can only describe as two detestable evils. If she resists Angelo, and lets her brother die, she recoils from an act of self-sacrifice; and, although we may coldly approve, we cannot admire or take pleasure in her action. If, on the other hand, she determines at all costs to save her brother's life, her sacrifice is a thing from which we want only to avert the mind: it belongs to the region of what Aristotle calls to miaron, the odious and intolerable. Shakespeare, indeed, confesses the problem insoluble in the fact that he leaves it unsolved--evading it by means of a mediaeval trick. But where, then, was the use of presenting it? What is the artistic profit of letting the imagination play around a problem which merely baffles and repels it? Sardou, indeed, presented the same problem, not as the theme of a whole play, but only of a single act; and he solved it by making Floria Tosca kill Scarpia. This is a solution which, at any rate, satisfies our craving for crude justice, and is melodramatically effective. Shakespeare probably ignored it, partly because it was not in his sources, partly because, for some obscure reason, he supposed himself to be writing a comedy. The result is that, though the play contains some wonderful poetry, and has been from time to time revived, it has never taken any real hold upon popular esteem.
The second glaring instance of a blind-alley theme is that of Monna Vanna. We have all of us, I suppose, stumbled, either as actors or onlookers, into painful situations, which not even a miracle of tact could possibly save. As a rule, of course, they are comic, and the agony they cause may find a safety-valve in laughter. But sometimes there occurs some detestable incident, over which it is equally impossible to laugh and to weep. The wisest words, the most graceful acts, are of no avail. One longs only to sink into the earth, or vanish into thin air. Such a situation, on the largest possible scale, is that presented in Monna Vanna. It differs from that of Measure for Measure in the fact that there can be no doubt as to the moral aspect of the case. It is quite clear that Giovanna ought to sacrifice herself to save, not one puling Claudio, but a whole city full of men, women, and children. What she does is absolutely right; but the conjuncture is none the less a grotesque and detestable one, which ought to be talked about and thought about as little as possible. Every word that is uttered is a failure in tact. Guido, the husband, behaves, in the first act, with a violent egoism, which is certainly lacking in dignity; but will any one tell me what would be a dignified course for him to pursue under the circumstances? The sage old Marco, too--that fifteenth-century Renan--flounders just as painfully as the hot-headed Guido. It is the fatality of the case that "he cannot open his mouth without putting his foot in it"; and a theme which exposes a well-meaning old gentleman to this painful necessity is one by all means to be avoided. The fact that it is a false alarm, and that there is no rational explanation for Prinzivalle's wanton insult to a woman whom he reverently idolizes, in no way makes matters better.[[101]] Not the least grotesque thing in the play is Giovanna's expectation that Guido will receive Prinzivalle with open arms because he has--changed his mind. We can feel neither approval nor disapproval, sympathy nor antipathy, in such a deplorable conjunction of circumstances. All we wish is that we had not been called upon to contemplate it.[[102]] Maeterlinck, like Shakespeare, was simply dallying with the idea of a squalid heroism--so squalid, indeed, that neither he nor his predecessor had the courage to carry it through.
Pray observe that the defect of these two themes is not merely that they are "unpleasant." It is that there is no possible way out of them which is not worse than unpleasant: humiliating, and distressing. Let the playwright, then, before embarking on a theme, make sure that he has some sort of satisfaction to offer us at the end, if it be only the pessimistic pleasure of realizing some part of "the bitter, old and wrinkled truth" about life. The crimes of destiny there is some profit in contemplating; but its stupid vulgarities minister neither to profit nor delight.
It may not be superfluous to give at this point a little list of subjects which, though not blind-alley themes, are equally to be avoided. Some of them, indeed, are the reverse of blind-alley themes, their drawback lying in the fact that the way out of them is too tediously apparent.