Chapter III

All imaginative art keeps at a distance and this distance once chosen must be firmly held against a pushing world. Verse, ritual, music and dance in association with action require that gesture, costume, facial expression, stage arrangement must help in keeping the door. Our unimaginative arts are content to set a piece of the world as we know it in a place by itself, to put their photographs as it were in a plush or a plain frame, but the arts which interest me, while seeming to separate from the world and us a group of figures, images, symbols, enable us to pass for a few moments into a deep of the mind that had hitherto been too subtle for our habitation. As a deep of the mind can only be approached through what is most human, most delicate, we should distrust bodily distance, mechanism and loud noise.

It may be well if we go to school in Asia, for the distance from life in European art has come from little but difficulty with material. In half-Asiatic Greece, Kallimachos could still return to a stylistic management of the falling folds of drapery, after the naturalistic drapery of Phidias, and in Egypt the same age that saw the village Head-man carved in wood for burial in some tomb with so complete a naturalism saw, set up in public places, statues full of an august formality that implies traditional measurements, a philosophic defence. The spiritual painting of the 14th century passed on into Tintoretto and that of Velasquez into modern painting with no sense of loss to weigh against the gain, while the painting of Japan, not having our European Moon to churn the wits, has understood that no styles that ever delighted noble imaginations have lost their importance, and chooses the style according to the subject. In literature also we have had the illusion of change and progress, the art of Shakespeare passing into that of Dryden, and so into the prose drama, by what has seemed when studied in its details unbroken progress. Had we been Greeks, and so but half-European, an honourable mob would have martyred though in vain the first man who set up a painted scene, or who complained that soliloquies were unnatural, instead of repeating with a sigh, 'we cannot return to the arts of childhood however beautiful.' Only our lyric poetry has kept its Asiatic habit and renewed itself at its own youth, putting off perpetually what has been called its progress in a series of violent revolutions.

Therefore it is natural that I go to Asia for a stage-convention, for more formal faces, for a chorus that has no part in the action and perhaps for those movements of the body copied from the marionette shows of the 14th century. A mask will enable me to substitute for the face of some common-place player, or for that face repainted to suit his own vulgar fancy, the fine invention of a sculptor, and to bring the audience close enough to the play to hear every inflection of the voice. A mask never seems but a dirty face, and no matter how close you go is still a work of art; nor shall we lose by staying the movement of the features, for deep feeling is expressed by a movement of the whole body. In poetical painting & in sculpture the face seems the nobler for lacking curiosity, alert attention, all that we sum up under the famous word of the realists 'vitality.' It is even possible that being is only possessed completely by the dead, and that it is some knowledge of this that makes us gaze with so much emotion upon the face of the Sphinx or Buddha. Who can forget the face of Chaliapine as the Mogul King in Prince Igor, when a mask covering its upper portion made him seem like a Phoenix at the end of its thousand wise years, awaiting in condescension the burning nest and what did it not gain from that immobility in dignity and in power?