AN art may become impersonal because it has too much circumstance or too little, because the world is too little or too much with it, because it is too near the ground or too far up among the branches. I met an old man out fishing a year ago, who said to me, ‘Don Quixote and Odysseus are always near to me’; that is true for me also, for even Hamlet and Lear and Œdipus are more cloudy. No playwright ever has made or ever will make a character that will follow us out of the theatre as Don Quixote follows us out of the book, for no playwright can be wholly episodical, and when one constructs, bringing one’s characters into complicated relations with one another, something impersonal comes into the story. Society, fate, ‘tendency,’ something not quite human, begins to arrange the characters and to excite into action only so much of their humanity as they find it necessary to show to one another. The common heart will always love better the tales that have something of an old wives’ tale and that look upon their hero from every side as if he alone were wonderful, as a child does with a new penny. In plays of a comedy too extravagant to photograph life, or written in verse, the construction is of a necessity woven out of naked motives and passions, but when an atmosphere of modern reality has to be built up as well, and the tendency, or fate, or society has to be shown as it is about ourselves, the characters grow fainter, and we have to read the book many times or see the play many times before we can remember them. Even then they are only possible in a certain drawing-room and among such and such people, and we must carry all that lumber in our heads. I thought Tolstoi’s ‘War and Peace’ the greatest story I had ever read, and yet it has gone from me; even Lancelot, ever a shadow, is more visible in my memory than all its substance. THE PLAY OF MODERN MANNERS