The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-02-10
ON H DRAMA
OSCAR wILDEs PARADOxEs DR-.wN
FROM HIM IN AN INTERVIEW.
The Astute London Author IL Still n
Pessfmist simply for the Fun OF
It-This Weeks Local Bills.

Some characteristic opinions on the drama
and dramatic critics were very cleverly
drawn from Oscar Wilde recently by Gil
bert Burgess, the ~well-known writer for
London Sketch, as the following article
shows: On the morning following the pro-
duction of "An Ideal Husband ! met Oscar
Wilde as he came down the steps OF a club
at the top OF st. James street. and I took
advantage of the occasion to ask him what
he thought of the attitude OF the critics
toward his play. "Well," he replied, as he
walked slowly down the street. "for a man
TO be a dramatic critic is as foolish and as
lnartistic as it would be for a man to be a
critic of epics, or a pastoral critic, or a
critic or lyrics. All modes of art are one,
and the modes of the art that employs
words as its medium are quite indivisible.
The result OF the vulgar specialization OF
criticism is an elaborate scientific knowledge
OF the stage-almost as elaborate as that of
the stage carpenter and quite on a par with
that of the callboy-combined with an en-
tire incapacity to realize that a play is a
work of art, or to receive any artistic I'M
pressions at ALL"
You are rather severe upon dramatic
English dramatic criticism of our oe'n
day has never had a single success, In spite
of the fact that 1t goes to all the frst
nights"
but" I suggested. ut is influential"
Certainly; that is why it Is so bad"
Il don't think i quite
1.-The moment criticism exercises any In
fuence 1t ceases to be criticism. The aim
OF the true critic is to try and chronicle his
.erpieceS of Others"
Real critics would be charming in your
Real critics? Ah, how perfectly charm
Ing they would be. am always waiting
for their arrival. An inaudible school would
What is your feeling toward your audi
(which public? There are as many pub
lies as there are personalities"
Are you nervous on the night that you
produce a new play?'
ooh, no; I am exquisitely indifferent. My
nervousness ends at the last dress rehearsal;
i know then what effect my play. as pre-
sented upon the stage. has. produced upon
me. My interest in the play ends there,
and / feel curiously envious of the public
they have such wonderful fresh emotions in
1 laughed. but Mr.. Wilde rebuked me with
4 look of surprise.
sire to make a success" he said.
But I'm afraid 1 don't quite under
THE public makes a success when it real
lies that a play is a work of art. On the
three first nights I have had in London the
public has been most successful, and had
the dimensions of the stage admitted. of it
I would have called them before the cur
tain. Most managers. I believe, call them
sT Imagine, then. that you don't hold with
the opinion that the public is the patron Of
"The artist is always the munificent pa
tron Of the public. I am very fond of the
public; and; personally; I always patronize
What are your Views upon the much
vexed question Of subject matter In art?''
aEysrythins matters in art except the
When I recovered I said: Several plays
have been written lately that s6 deal with the
morality at the present time"
All answered Mr.; Wilde. with an air of
shame that there should be one law for men
and another law for women. 1 think"-he
hesltated. and a smile as swift as sterne's
"hectic of a moment fitted across his face
III think that there should be no law for
anybody"
or real people should ever give one in
spirationT'
9Th color of a flower may suggest to one
the plot OF a tragedy; a passage in music
may give one the sestett of a sonnet; but
whatever actually occurs gives the artist
no suggestion. Every romance that one has
in ones life is a romance lost to ones art
To introduce real people into a novel or q
play is a sign of an unimaginative mind, q
coarse, untutored observation and an entire
absence of style"
Pm afraid 1 can't agree with you, Mr.
Wilde: | frequently see types and people
Everything is of use to the artist except
an idea"
After this I was silent until Mr.. Wilde
pointed to the bottom OF the street and drew
my attention to the "apricot-colored pal
ace which we were approaching. So
continued my questioning.
The enemy has SAL that your plays lack
action.'
Yes; English critics always confuse the
action of a play with the incidents of q
melodrama. / wrote the first act of "A
Woman of No Importance in answer to the
critics who said that Lady Windermere's
Fan lacked action. In the act in question
there was absolutely no action at all. II
was a perfect act"
do you consider the future outlook OF
the English stage is hopeful?'
II think ii must be. The critics have
ceased to prophesy. That is something. Il
IS in silence that the artist arrives. Wha'
is waited for never succeeds; what is her
aided is hopeless
We were nearing the sentries at Marl
borough House. and / said:
Won't you tell me a little more, please
Let us walk down Pail Mall-exercise II
such a good thing"
'Exercise!' he calculated with an empha
sis that almost warrants italics. THE only
possible form of exercise Is to talk, no
walk"
And as he spoke he motioned to a passin,
hanson. We shoon hands, and Mr.. Wilde
giving me a glance of approval. said:
II am sure that you must have a grea
future in literature before YOU
What makes you think SOP I asked, a.
/ flushed with pleasure at the prediction.
Because you seem to me such a very BAT
interviewer. 1 feel sure that you must writ,
poetry. l certainly like the color of you
necktfe very much. GOO6-bvAn