"Do you think," I inquired, "that French dramatic criticism is superior to our own?"

"It would be unfair to confuse French dramatic criticism with English theatrical criticism. The French dramatic critic is always a man of culture and generally a man of letters. In France poets like Gautier have been dramatic critics. In England they are drawn from a less distinguished class. They have neither the same capacities nor the same opportunities. They have all the moral qualities, but none of the artistic qualifications. For the criticism of such a complex mode of art as the drama the highest culture is necessary. No one can criticise drama who is not capable of receiving impressions from the other arts also."

"You admit they are sincere?"

"Yes; but their sincerity is little more than stereotyped stupidity. The critic of the drama should be versatile as the actor. He should be able to change his mood at will and should catch the colour of the moment."

"At least they are honest?"

"Absolutely. I don't believe there is a single dramatic critic in London who would deliberately set himself to misrepresent the work of any dramatist—unless, of course, he personally disliked the dramatist, or had some play of his own he wished to produce at the same theatre, or had an old friend among the actors, or some natural reasons of that kind. I am speaking, however, of London dramatic critics. In the provinces both audience and critics are cultured. In London it is only the audience who are cultured."

"I fear you do not rate our dramatic critics very highly, Mr. Wilde; but, at all events, they are incorruptible?"

"In a market where there are no bidders."

"Still their memories stand them in good stead," I pleaded.

"The old talk of having seen Macready that must be a very painful memory. The middle-aged boast that they can recall 'Diplomacy:' hardly a pleasant reminiscence."

"You deny them, then, even a creditable past?"

"They have no past and no future, and are incapable of realizing the colour of the moment that finds them at the play."

"What do you propose should be done?"

"They should be pensioned off, and only allowed to write on politics or theology or bimetallism, or some subject easier than art."

"In fact," I said, carried away by Mr. Wilde's aphorisms, "they should be seen and not heard."

"The old should neither be seen nor heard" said Mr. Wilde, with some emphasis.


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