Читать книгу Miscellanies - Оскар Уайльд, Wilde Oscar, F. H. Cornish - Страница 7

(New York World, November 7, 1882.)

It is only in the best Greek gems, on the silver coins of Syracuse, or among the marble figures of the Parthenon frieze, that one can find the ideal representation of the marvellous beauty of that face which laughed through the leaves last night as Hester Grazebrook.

Pure Greek it is, with the grave low forehead, the exquisitely arched brow; the noble chiselling of the mouth, shaped as if it were the mouthpiece of an instrument of music; the supreme and splendid curve of the cheek; the augustly pillared throat which bears it all: it is Greek, because the lines which compose it are so definite and so strong, and yet so exquisitely harmonised that the effect is one of simple loveliness purely: Greek, because its essence and its quality, as is the quality of music and of architecture, is that of beauty based on absolutely mathematical laws.

But while art remains dumb and immobile in its passionless serenity, with the beauty of this face it is different: the grey eyes lighten into blue or deepen into violet as fancy succeeds fancy; the lips become flower-like in laughter or, tremulous as a bird’s wing, mould themselves at last into the strong and bitter moulds of pain or scorn. And then motion comes, and the statue wakes into life. But the life is not the ordinary life of common days; it is life with a new value given to it, the value of art: and the charm to me of Hester Grazebrook’s acting in the first scene of the play4 last night was that mingling of classic grace with absolute reality which is the secret of all beautiful art, of the plastic work of the Greeks and of the pictures of Jean François Millet equally.

I do not think that the sovereignty and empire of women’s beauty has at all passed away, though we may no longer go to war for them as the Greeks did for the daughter of Leda. The greatest empire still remains for them – the empire of art. And, indeed, this wonderful face, seen last night for the first time in America, has filled and permeated with the pervading image of its type the whole of our modern art in England. Last century it was the romantic type which dominated in art, the type loved by Reynolds and Gainsborough, of wonderful contrasts of colour, of exquisite and varying charm of expression, but without that definite plastic feeling which divides classic from romantic work. This type degenerated into mere facile prettiness in the hands of lesser masters, and, in protest against it, was created by the hands of the Pre-Raphaelites a new type, with its rare combination of Greek form with Florentine mysticism. But this mysticism becomes over-strained and a burden, rather than an aid to expression, and a desire for the pure Hellenic joy and serenity came in its place; and in all our modern work, in the paintings of such men as Albert Moore and Leighton and Whistler, we can trace the influence of this single face giving fresh life and inspiration in the form of a new artistic ideal.

As regards Hester Grazebrook’s dresses, the first was a dress whose grace depended entirely on the grace of the person who wore it. It was merely the simple dress of a village girl in England. The second was a lovely combination of blue and creamy lace. But the masterpiece was undoubtedly the last, a symphony in silver-grey and pink, a pure melody of colour which I feel sure Whistler would call a Scherzo, and take as its visible motive the moonlight wandering in silver mist through a rose-garden; unless indeed he saw this dress, in which case he would paint it and nothing else, for it is a dress such as Velasquez only could paint, and Whistler very wisely always paints those things which are within reach of Velasquez only.

The scenery was, of course, prepared in a hurry. Still, much of it was very good indeed: the first scene especially, with its graceful trees and open forge and cottage porch, though the roses were dreadfully out of tone and, besides their crudity of colour, were curiously badly grouped. The last scene was exceedingly clever and true to nature as well, being that combination of lovely scenery and execrable architecture which is so specially characteristic of a German spa. As for the drawing-room scene, I cannot regard it as in any way a success. The heavy ebony doors are entirely out of keeping with the satin panels; the silk hangings and festoons of black and yellow are quite meaningless in their position and consequently quite ugly; the carpet is out of all colour relation with the rest of the room, and the table-cover is mauve. Still, to have decorated ever so bad a room in six days must, I suppose, be a subject of respectful wonder, though I should have fancied that Mr. Wallack had many very much better sets in his own stock.

But I am beginning to quarrel generally with most modern scene-painting. A scene is primarily a decorative background for the actors, and should always be kept subordinate, first to the players, their dress, gesture, and action; and secondly, to the fundamental principle of decorative art, which is not to imitate but to suggest nature. If the landscape is given its full realistic value, the value of the figures to which it serves as a background is impaired and often lost, and so the painted hangings of the Elizabethan age were a far more artistic, and so a far more rational form of scenery than most modern scene-painting is. From the same master-hand which designed the curtain of Madison Square Theatre I should like very much to see a good decorative landscape in scene-painting; for I have seen no open-air scene in any theatre which did not really mar the value of the actors. One must either, like Titian, make the landscape subordinate to the figures, or, like Claude, the figures subordinate to the landscape; for if we desire realistic acting we cannot have realistic scene-painting.

I need not describe, however, how the beauty of Hester Grazebrook survived the crude roses and the mauve tablecloth triumphantly. That it is a beauty that will be appreciated to the full in America I do not doubt for a moment, for it is only countries which possess great beauty that can appreciate beauty at all. It may also influence the art of America as it has influenced the art of England, for of the rare Greek type it is the most absolutely perfect example.

The Philistine may, of course, object that to be absolutely perfect is impossible. Well, that is so: but then it is only the impossible things that are worth doing nowadays!