the colour of life(生命之色)-第7节
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had the pond made； or the river； for a space； and the fish； for a time。 But
the bulrushes； the reeds！ One wonders whether a very thorough
landowner； but a sensitive one； ever resolved that he would endure this
sort of thing no longer； and went out armed and had a long acre of sedges
scythed to death。
They are probably outlaws。 They are dwellers upon thresholds and
upon margins； as the gipsies make a home upon the green edges of a road。
No wild flowers； however wild； are rebels。 The copses and their
primroses are good subjects； the oaks are loyal。 Now and then； though；
one has a kind of suspicion of some of the other kinds of trees … the Corot
trees。 Standing at a distance from the more ornamental trees； from those
of fuller foliage； and from all the indeciduous shrubs and the conifers
（manifest property； every one）； two or three translucent aspens； with which
the very sun and the breath of earth are entangled； have sometimes seemed
to wear a certain look … an extra…territorial look； let us call it。 They are
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suspect。 One is inclined to shake a doubtful head at them。
And the landowner feels it。 He knows quite well； though he may not
say so； that the Corot trees； though they do not dwell upon margins； are in
spirit almost as extraterritorial as the rushes。 In proof of this he very
often cuts them down； out of the view； once for all。 The view is better； as a
view； without them。 Though their roots are in his ground right enough；
there is a something about their heads … 。 But the reason he gives for
wishing them away is merely that they are 〃thin。〃 A man does not
always say everything。
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ELEONORA DUSE
The Italian woman is very near to Nature； so is true drama。
Acting is not to be judged like some other of the arts； and praised for a
〃noble convention。〃 Painting； indeed； is not praised amiss with that word；
painting is obviously an art that exists by its convention … the convention is
the art。 But far otherwise is it with the art of acting； where there is no
representative material； where； that is； the man is his own material； and
there is nothing between。 With the actor the style is the man； in another；
a more immediate； and a more obvious sense than was ever intended by
that saying。 Therefore we may allow the critic … and not accuse him of
reaction … to speak of the division between art and Nature in the painting
of a landscape； but we cannot let him say the same things of acting。
Acting has a technique； but no convention。
Once for all； then； to say that acting reaches the point of Nature； and
touches it quick； is to say all。 In other arts imitation is more or less
fatuous； illusion more or less vulgar。 But acting is； at its less good；
imitation； at its best； illusion； at its worst； and when it ceases to be an art；
convention。
But the idea that acting is conventional has inevitably come about in
England。 For it is； in fact； obliged； with us； to defeat and destroy itself by
taking a very full； entire； tedious； and impotent convention； a complete
body of convention； a convention of demonstrativeness … of voice and
manners intended to be expressive； and； in particular； a whole weak and
unimpulsive convention of gesture。 The English manners of real life are
so negative and still as to present no visible or audible drama； and drama
is for hearing and for vision。 Therefore our acting （granting that we have
any acting； which is granting much） has to create its little different and
complementary world； and to make the division of 〃art〃 from Nature … the
division which； in this one art； is fatal。
This is one simple and sufficient reason why we have no considerable
acting； though we may have more or less interesting and energetic or
graceful conventions that pass for art。 But any student of international
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character knows well enough that there are also supplementary reasons of
weight。 For example； it is bad to make a conventional world of the stage；
but it is doubly bad to make it badly … which； it must be granted； we do。
When we are anything of the kind； we are intellectual rather than
intelligent； whereas outward…streaming intelligence makes the actor。 We
are pre… occupied； and therefore never single； never wholly possessed by
the one thing at a time； and so forth。
On the other hand； Italians are expressive。 They are so possessed by
the one thing at a time as never to be habitual in any lifeless sense。 They
have no habits to overcome by something arbitrary and intentional。
Accordingly； you will find in the open…air theatre of many an Italian
province； away from the high roads； an art of drama that our capital cannot
show； so high is it； so fine； so simple； so complete； so direct； so
momentary and impassioned； so full of singleness and of multitudinous
impulses of passion。
Signora Duse is not different in kind from these unrenowned。 What
they are； she is in a greater degree。 She goes yet further； and yet closer。
She has an exceptionally large and liberal intelligence。 If lesser actors give
themselves entirely to the part； and to the large moment of the part； she；
giving herself； has more to give。
Add to this nature of hers that she stages herself and her acting with
singular knowledge and ease； and has her technique so thoroughly as to be
able to forget it … for this is the one only thing that is the better for habit；
and ought to be habitual。 There is but one passage of her mere technique
in which she fails so to slight it。 It is in the long exchange of stove…side
talk between Nora and the other woman of 〃The Doll's House。〃 Signora
Duse may have felt some misgivings as to the effect of a dialogue having
so little symmetry； such half…hearted feeling； and； in a word； so little
visible or audible drama as this。 Needless to say； the misgiving is not
apparent； what is too apparent is simply the technique。 For instance； she
shifts her position with evident system and notable skill。 The whole
conversation becomes a dance of change and counterchange of place。
Nowhere else does the perfect technical habit lapse； and nowhere at all
does the habit of acting exist with her。
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I have spoken of this actress's nationality and of her womanhood
together。 They are inseparable。 Nature is the only authentic art of the
stage； and the Italian woman is natural： none other so natural and so
justified by her nature as Eleonora Duse； but all； as far as their nature goes；
natural。 Moreover； they are women freer than other Europeans from the
minor vanities。 Has any one yet fully understood how her liberty in this
respect gives to the art of Signora Duse room and action？ Her
countrywomen have no anxious vanities； because； for one reason； they are
generally 〃sculpturesque；〃 and are very little altered by mere accidents of
dress or arrangement。 Such as they are； they are so once for all； whereas；
the turn of a curl makes all the difference with women of less grave
physique。 Italians are not uneasy。
Signora Duse has this immunity； but she has a far nobler deliverance
from vanities； in her own peculiar distance and dignity。 She lets her
beautiful voice speak； unwatched and unchecked； from the very life of the
moment。 It runs up into the high notes of indifference； or； higher still；
into those of ennui； as in the earlier scenes of Divo
