A Dish of Orts : Chiefly Papers on the Imagination, and on ShakespeareMacDonald, George
Philosophy
A Dish of Orts : Chiefly Papers on the Imagination, and on Shakespeare
MacDonald, George
Literature -- History and criticism; Shakespeare, William, 1564-1616 -- Criticism and interpretation
In the moral world it is different: there a man may clothe in new forms,
and for this employ his imagination freely, but he must invent nothing.
He may not, for any purpose, turn its laws upside down. He must not
meddle with the relations of live souls. The laws of the spirit of man
must hold, alike in this world and in any world he may invent. It were
no offence to suppose a world in which everything repelled instead of
attracted the things around it; it would be wicked to write a tale
representing a man it called good as always doing bad things, or a man
it called bad as always doing good things: the notion itself is
absolutely lawless. In physical things a man may invent; in moral things
he must obey--and take their laws with him into his invented world as
well.
“You write as if a fairytale were a thing of importance: must it have a
meaning?”
It cannot help having some meaning; if it have proportion and harmony it
has vitality, and vitality is truth. The beauty may be plainer in it
than the truth, but without the truth the beauty could not be, and the
fairytale would give no delight. Everyone, however, who feels the story,
will read its meaning after his own nature and development: one man will
read one meaning in it, another will read another.
“If so, how am I to assure myself that I am not reading my own meaning
into it, but yours out of it?”
Why should you be so assured? It may be better that you should read your
meaning into it. That may be a higher operation of your intellect than
the mere reading of mine out of it: your meaning may be superior to
mine.
“Suppose my child ask me what the fairytale means, what am I to say?”
If you do not know what it means, what is easier than to say so? If you
do see a meaning in it, there it is for you to give him. A genuine work
of art must mean many things; the truer its art, the more things it will
mean. If my drawing, on the other hand, is so far from being a work of
art that it needs THIS IS A HORSE written under it, what can it matter
that neither you nor your child should know what it means? It is there
not so much to convey a meaning as to wake a meaning. If it do not even
wake an interest, throw it aside. A meaning may be there, but it is not
for you. If, again, you do not know a horse when you see it, the name
written under it will not serve you much. At all events, the business of
the painter is not to teach zoology.
But indeed your children are not likely to trouble you about the
meaning. They find what they are capable of finding, and more would be
too much. For my part, I do not write for children, but for the
childlike, whether of five, or fifty, or seventy-five.
A fairytale is not an allegory. There may be allegory in it, but it is
not an allegory. He must be an artist indeed who can, in any mode,
produce a strict allegory that is not a weariness to the spirit. An
allegory must be Mastery or Moorditch.
Public-domain text, read in full here on John Shaqi.
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