V. THE PARIS MUSIC-HALL

It is not always realised by Englishmen that England is really the country of the music-hall, the only country where it has taken firm root and flowered elegantly. There is nothing in any part of Europe to compare, in their own way, with the Empire and the Alhambra, either as places luxurious in themselves or as places where a brilliant spectacle is to be seen. It is true that, in England, the art of the ballet has gone down; the prima ballerina a.s.soluta is getting rare, the primo uomo is extinct. The training of dancers as dancers leaves more and more to be desired, but that is a defect which we share, at the present time, with most other countries; while the beauty of the spectacle, with us, is unique. Think of "Les Papillons" or of "Old China" at the Empire, and then go and see a fantastic ballet at Paris, at Vienna, or at Berlin!

And it is not only in regard to the ballet, but in regard also to the "turns," that we are ahead of all our compet.i.tors. I have no great admiration for most of our comic gentlemen and ladies in London, but I find it still more difficult to take any interest in the comic gentlemen and ladies of Paris. Take Marie Lloyd, for instance, and compare with her, say, Marguerite Deval at the Scala. Both aim at much the same effect, but, contrary to what might have been expected, it is the Englishwoman who shows the greater finesse in the rendering of that small range of sensations to which both give themselves up frankly. Take Polin, who is supposed to express vulgarities with unusual success.

Those automatic gestures, flapping and flopping; that dribbling voice, without intonation; that flabby droop and twitch of the face; all that soapy rubbing-in of the expressive parts of the song: I could see no skill in it all, of a sort worth having. The women here sing mainly with their shoulders, for which they seem to have been chosen, and which are undoubtedly expressive. Often they do not even take the trouble to express anything with voice or face; the face remains blank, the voice trots creakily. It is a doll who repeats its lesson, holding itself up to be seen.

The French "revue," as one sees it at the Folies-Bergere, done somewhat roughly and sketchily, strikes one most of all by its curious want of consecution, its entire reliance on the point of this or that scene, costume, or performer. It has no plan, no idea; some ideas are flung into it in pa.s.sing; but it remains as shapeless as an English pantomime, and not much more interesting. Both appeal to the same undeveloped instincts, the English to a merely childish vulgarity, the French to a vulgarity which is more frankly vicious. Really I hardly know which is to be preferred. In England we pretend that fancy dress is all in the interests of morality; in France they make no such pretence, and, in dispensing with shoulder-straps, do but make their intentions a little clearer. Go to the Moulin-Rouge and you will see a still clearer object-lesson. The goods in the music-halls are displayed so to speak, behind gla.s.s, in a shop window; at the Moulin-Rouge they are on the open booths of a street market.

M. CAPUS IN ENGLAND

An excellent Parisian company from the Varietes has been playing "La Veine" of M. Alfred Capus, and this week it is playing "Les Deux Ecoles"

of the same entertaining writer. The company is led by Mme. Jeanne Granier, an actress who could not be better in her own way unless she acquired a touch of genius, and she has no genius. She was thoroughly and consistently good, she was lifelike, amusing, never out of key; only, while she reminded one at times of Rejane, she had none of Rejane's magnetism, none of Rejane's exciting naturalness.

The whole company is one of excellent quality, which goes together like the different parts of a piece of machinery. There is Mme. Marie Magnier, so admirable as an old lady of that good, easy-going, intelligent, French type. There is Mlle. Lavalliere, with her brilliant eyes and her little canaille voice, vulgarly exquisite. There is M.

Numes, M. Guy, M. Guitry. M. Guitry is the French equivalent of Mr. Fred Kerr, with all the difference that that change of nationality means. His slow manner, his delaying pantomine, his hard, persistent eyes, his uninflected voice, made up a type which I have never seen more faithfully presented on the stage. And there is M. Bra.s.seur. He is a kind of French Arthur Roberts, but without any of that extravagant energy which carries the English comedian triumphantly through all his absurdities. M. Bra.s.seur is preposterously natural, full of aplomb and impertinence. He never flags, never hesitates; it is impossible to take him seriously, as we say of delightful, mischievous people in real life.

I have been amused to see a discussion in the papers as to whether "La Veine" is a fit play to be presented to the English public. "Max" has defended it in his own way in the _Sat.u.r.day Review_, and I hasten to say that I quite agree with his defence. Above all, I agree with him when he says: "Let our dramatic critics reserve their indignation for those other plays in which the characters are self-conscious, winkers and gigglers over their own misconduct, taking us into their confidence, and inviting us to wink and giggle with them." There, certainly, is the offence; there is a kind of vulgarity which seems native to the lower English mind and to the lower English stage. M. Capus is not a moralist, but it is not needful to be a moralist. He is a skilful writer for the stage, who takes an amiable, somewhat superficial, quietly humorous view of things, and he takes people as he finds them in a particular section of the upper and lower middle cla.s.ses in Paris, not going further than the notion which they have of themselves, and presenting that simply, without comment. We get a foolish young millionaire and a foolish young person in a flower shop, who take up a collage together in the most casual way possible, and they are presented as two very ordinary people, neither better nor worse than a great many other ordinary people, who do or do not do much the same thing. They at least do not "wink or giggle"; they take things with the utmost simplicity, and they call upon us to imitate their bland unconsciousness.

"La Veine" is a study of luck, in the person of a very ordinary man, not more intelligent or more selfish or more attractive than the average, but one who knows when to take the luck which comes his way. The few, quite average, incidents of the play are put together with neatness and probability, and without sensational effects, or astonishing curtains; the people are very natural and probable, very amusing in their humours, and they often say humorous things, not in so many set words, but by a clever adjustment of natural and probable nothings. Throughout the play there is an amiable and entertaining common sense which never becomes stage convention; these people talk like real people, only much more a-propos.

In "Les Deux Ecoles" the philosophy which could be discerned in "La Veine," that of taking things as they are and taking them comfortably, is carried to a still further development. I am prepared to be told that the whole philosophy is horribly immoral; perhaps it is; but the play, certainly, is not. It is vastly amusing, its naughtiness is so nave, so tactfully frank, that even the American daughter might take her mother to see it, without fear of corrupting the innocence of age. "On peut tres bien vivre sans etre la plus heureuse des femmes": that is one of the morals of the piece; and, the more you think over questions of conduct, the more you realise that you might just as well not have thought about them at all, might be another. The incidents by which these excellent morals are driven home are incidents of the same order as those in "La Veine," and not less entertaining. The mounting, simple as it was, was admirably planned; the stage-pictures full of explicit drollery. And, as before, the whole company worked with the effortless unanimity of a perfect piece of machinery.

A few days after seeing "La Veine" I went to Wyndham's Theatre to see a revival of Sir Francis Burnand's "Betsy." "Betsy," of course, is adapted from the French, though, by an accepted practice which seems to me dishonest, in spite of its acceptance, that fact is not mentioned on the play-bill. But the form is undoubtedly English, very English. What vulgarity, what pointless joking, what pitiable attempts to serve up old impromptus rechauffes! I found it impossible to stay to the end. Some actors, capable of better things, worked hard; there was a terrible air of effort in these attempts to be sprightly in fetters, and in rusty fetters. Think of "La Veine" at its worst, and then think of "Betsy"! I must not ask you to contrast the actors; it would be almost unfair. We have not a company of comedians in England who can be compared for a moment with Mme. Jeanne Granier's company. We have here and there a good actor, a brilliant comic actor, in one kind or another of emphatic comedy; but wherever two or three comedians meet on the English stage, they immediately begin to checkmate, or to outbid, or to shout down one another. No one is content, or no one is able, to take his place in an orchestra in which it is not allotted to every one to play a solo.

A DOUBLE ENIGMA

When it was announced that Mrs. Tree was to give a translation of "L'Enigme" of M. Paul Hervieu at Wyndham's Theatre, the play was announced under the t.i.tle "Which?" and as "Which?" it appeared on the placards. Suddenly new placards appeared, with a new t.i.tle, not at all appropriate to the piece, "Caesar's Wife." Rumours of a late decision, or indecision, of the censor were heard. The play had not been prohibited, but it had been adapted to more polite ears. But how? That was the question. I confess that to me the question seemed insoluble.

Here is the situation as it exists in the play; nothing could be simpler, more direct, more difficult to tamper with.

Two brothers, Raymond and Gerard de Gourgiran, are in their country house, with their two wives, Giselle and Leonore, and two guests, the old Marquis de Neste and the young M. de Vivarce. The brothers surprise Vivarce on the stairs: was he coming from the room of Giselle or of Leonore? The women are summoned; both deny everything; it is impossible for the audience, as for the husbands, to come to any conclusion. A shot is heard outside: Vivarce has killed himself, so that he may save the reputation of the woman he loves. Then the self-command of Leonore gives way; she avows all in a piercing shriek. After that there is some unnecessary moralising ("La-bas un cadavre! Ici, des sanglots de captive!" and the like), but the play is over.

Now, the situation is perfectly precise; it is not, perhaps, very intellectually significant, but there it is, a striking dramatic situation. Above all, it is frank; there are no evasions, no sentimental lies, no hypocrisies before facts. If adultery may not be referred to on the English stage except at the Gaiety, between a wink and a laugh, then such a play becomes wholly impossible. Not at all: listen. We are told to suppose that Vivarce and Leonore have had a possibly quite harmless flirtation; and instead of Vivarce being found on his way from Leonore's room, he has merely been walking with Leonore in the garden: at midnight remember, and after her husband has gone to bed. In order to lead up to this, a preposterous speech has been put into the mouth of the Marquis de Neste, an idiotic rhapsody about love and the stars, and I forget what else, which I imagine we are to take as an indication of Vivarce's sentiments as he walks with Leonore in the garden at midnight. But all these precautions are in vain; the audience is never deceived for an instant. A form of words has been used, like the form of words by which certain lies become technically truthful. The whole point of the play: has a husband the right to kill his wife or his wife's lover if he discovers that his wife has been unfaithful to him? is obviously not a question of whether a husband may kill a gentleman who has walked with his wife in the garden, even after midnight. The force of the original situation comes precisely from the certainty of the fact and the uncertainty of the person responsible for it. "Caesar's Wife" may lend her name for a screen; the screen is no disguise; the play; remains what it was in its moral bearing; a dramatic stupidity has been imported into it, that is all. Here, then, in addition to the enigma of the play is a second, not so easily explained, enigma: the enigma of the censor, and of why he "moves in a mysterious way his wonders to perform." The play, I must confess, does not seem to me, as it seems to certain French critics, "une piece qui tient du chef-d'oeuvre ... la tragedie des maitres antiques et de Shakespeare." To me it is rather an insubstantial kind of ingenuity, ingenuity turning in a circle. As a tragic episode, the dramatisation of a striking incident, it has force and simplicity, the admirable quality of directness. Occasionally the people are too eager to express the last shade of the author's meaning, as in the conversation between Neste and Vivarce, when the latter decides to commit suicide, or in the supplementary comments when the action is really at an end. But I have never seen a piece which seemed to have been written so kindly and so consistently for the benefit of the actors. There are six characters of equal importance; and each in turn absorbs the whole flood of the limelight.

The other piece which made Sat.u.r.day evening interesting was a version of "Au Telephone," one of Antoine's recent successes at his theatre in Paris. It was brutal and realistic, it made just the appeal of an accident really seen, and, so far as success in horrifying one is concerned, it was successful. A husband hearing the voice of his wife through the telephone, at the moment when some murderous ruffians are breaking into the house, hearing her last cry, and helpless to aid her, is as ingeniously unpleasant a situation as can well be imagined. It is brought before us with unquestionable skill; it makes us as uncomfortable as it wishes to make us. But such a situation has absolutely no artistic value, because terror without beauty and without significance is not worth causing. When the husband, with his ear at the telephone, hears his wife tell him that some one is forcing the window-shutters with a crowbar, we feel, it is true, a certain sympathetic suspense; but compare this crude onslaught on the nerves with the profound and delicious terror that we experience when, in "La Mort de Tintagiles" of Maeterlinck, an invisible force pushes the door softly open, a force intangible and irresistible as death. In his acting Mr. Charles Warner was powerful, thrilling; it would be difficult to say, under the circ.u.mstances, that he was extravagant, for what extravagance, under the circ.u.mstances, would be improbable? He had not, no doubt, what I see described as "le jeu simple et terrible" of Antoine, a dry, hard, intellectual grip on horror; he had the ready abandonment to emotion of the average emotional man. Mr. Warner has an irritating voice and manner, but he has emotional power, not fine nor subtle, but genuine; he feels and he makes you feel. He has the quality, in short, of the play itself, but a quality more tolerable in the actor, who is concerned only with the rendering of a given emotion, than in the playwright, whose business it is to choose, heighten, and dignify the emotion which he gives to him to render.

DRAMA

PROFESSIONAL AND UNPROFESSIONAL

Last week gave one an amusing opportunity of contrasting the merits and the defects of the professional and the unprofessional kind of play.

"The Gay Lord Quex" was revived at the Duke of York's Theatre, and Mr.

Alexander produced at the St. James's Theatre a play called "The Finding of Nancy," which had been chosen by the committee of the Playgoers' Club out of a large number of plays sent in for compet.i.tion. The writer, Miss Netta Syrett, has published one or two novels or collections of stories; but this, as far as I am aware, is her first attempt at a play. Both plays were unusually well acted, and therefore may be contrasted without the necessity of making allowances for the way in which each was interpreted on the stage.

Mr. Pinero is a playwright with a sharp sense of the stage, and eye for what is telling, a cynical intelligence which is much more interesting than the uncertain outlook of most of our playwrights. He has no breadth of view, but he has a clear view; he makes his choice out of human nature deliberately, and he deals in his own way with the materials that he selects. Before saying to himself: what would this particular person say or do in these circ.u.mstances? he says to himself: what would it be effective on the stage for this particular person to do or say? He suggests nothing, he tells you all he knows; he cares to know nothing but what immediately concerns the purpose of his play. The existence of his people begins and ends with their first and last speech on the boards; the rest is silence, because he can tell you nothing about it.

Sophy Fullgarney is a remarkably effective character as a stage-character, but when the play is over we know no more about her than we should know about her if we had spied upon her, in her own way, from behind some bush or keyhole. We have seen a picturesque and amusing exterior, and that is all. Lord Quex does not, I suppose, profess to be even so much of a character as that, and the other people are mere "humours," quite amusing in their cleverly contrasted ways. When these people talk, they talk with an effort to be natural and another effort to be witty; they are never sincere and without self-consciousness; they never say inevitable things, only things that are effective to say. And they talk in poor English. Mr. Pinero has no sense of style, of the beauty or expressiveness of words. His joking is forced and without ideas; his serious writing is common. In "The Gay Lord Quex" he is continually trying to impress upon his audience that he is very audacious and distinctly improper. The improprieties are childish in the innocence of their vulgarity, and the audacities are no more than trifling lapses of taste. He shows you the interior of a d.u.c.h.ess's bedroom, and he shows you the d.u.c.h.ess's garter, in a box of other curiosities. He sets his gentlemen and ladies talking in the allusive style which you may overhear whenever you happen to be pa.s.sing a group of London cabmen. The d.u.c.h.ess has written in her diary, "Warm afternoon." That means that she has spent an hour with her lover. Many people in the audience laugh. All the cabmen would have laughed.

Now look for a moment at the play by the amateur and the woman. It is not a satisfactory play as a whole, it is not very interesting in all its developments, some of the best opportunities are shirked, some of the characters (all the characters who are men) are poor. But, in the first place, it is well written. Those people speak a language which is nearer to the language of real life than that used by Mr. Pinero, and when they make jokes there is generally some humour in the joke and some intelligence in the humour. They have ideas and they have feelings. The ideas and the feelings are not always combined with faultless logic into a perfectly clear and coherent presentment of character, it is true. But from time to time we get some of the illusion of life. From time to time something is said or done which we know to be profoundly true. A woman has put into words some delicate instinct of a woman's soul. Here and there is a cry of the flesh, here and there a cry of the mind, which is genuine, which is a part of life. Miss Syrett has much to learn if she is to become a successful dramatist, and she has not as yet shown that she knows men as well as women; but at least she has begun at the right end. She has begun with human nature and not with the artifices of the stage, she has thought of her characters as people before thinking of them as persons of the drama, she has something to say through them, they are not mere lines in a pattern. I am not at all sure that she has the makings of a dramatist, or that if she writes another play it will be better than this one. You do not necessarily get to your destination by taking the right turning at the beginning of the journey. The one certain thing is that if you take the wrong turning at the beginning, and follow it persistently, you will not get to your destination at all.

The playwright who writes merely for the stage, who squeezes the breath out of life before he has suited it to his purpose, is at the best only playing a clever game with us. He may amuse us, but he is only playing ping-pong with the emotions. And that is why we should welcome, I think, any honest attempt to deal with life as it is, even if life as it is does not always come into the picture.

TOLSTOI AND OTHERS

There is little material for the stage in the novels of Tolstoi. Those novels are full, it is true, of drama; but they cannot be condensed into dramas. The method of Tolstoi is slow, deliberate, significantly unemphatic; he works by adding detail to detail, as a certain kind of painter adds touch to touch. The result is, in a sense, monotonous, and it is meant to be monotonous. Tolstoi endeavours to give us something more nearly resembling daily life than any one has yet given us; and in daily life the moment of spiritual crisis is rarely the moment in which external action takes part. In the drama we can only properly realise the soul's action through some corresponding or consequent action which takes place visibly before us. You will find, throughout Tolstoi's work, many striking single scenes, but never, I think, a scene which can bear detachment from that network of detail which has led up to it and which is to come out of it. Often the scene which most profoundly impresses one is a scene trifling in itself, and owing its impressiveness partly to that very quality. Take, for instance, in "Resurrection," Book II., chapter xxviiii., the scene in the theatre "during the second act of the eternal 'Dame aux Camelias,' in which a foreign actress once again, and in a novel manner, showed how women died of consumption." The General's wife, Mariette, smiles at Nekhludoff in the box, and, outside, in the street, another woman, the other "half-world," smiles at him, just in the same way. That is all, but to Nekhludoff it is one of the great crises of his life. He has seen something, for the first time, in what he now feels to be its true light, and he sees it "as clearly as he saw the palace, the sentinels, the fortress, the river, the boats and the Stock Exchange. And just as on this northern summer night there was no restful darkness on the earth, but only a dismal, dull light coming from an invisible source, so in Nekhludoff's soul there was no longer the restful darkness, ignorance." The chapter is profoundly impressive; it is one of those chapters which no one but Tolstoi has ever written.

Imagine it transposed to the stage, if that were possible, and the inevitable disappearance of everything that gives it meaning!

In Tolstoi the story never exists for its own sake, but for the sake of a very definite moral idea. Even in his later novels Tolstoi is not a preacher; he gives us an interpretation of life, not a theorising about life. But, to him, the moral idea is almost everything, and (what is of more consequence) it gives a great part of its value to his "realism" of prisons and brothels and police courts. In all forms of art, the point of view is of more importance than the subject-matter. It is as essential for the novelist to get the right focus as it is for the painter. In a page of Zola and in a page of Tolstoi you might find the same gutter described with the same minuteness; and yet in reading the one you might see only the filth, while in reading the other you might feel only some fine human impulse. Tolstoi "sees life steadily" because he sees it under a divine light; he has a saintly patience with evil, and so becomes a casuist through sympathy, a psychologist out of that pity which is understanding. And then, it is as a direct consequence of this point of view, in the mere process of unravelling things, that his greatest skill is shown as a novelist. He does not exactly write well; he is satisfied if his words express their meaning, and no more; his words have neither beauty nor subtlety in themselves. But, if you will only give him time, for he needs time, he will creep closer and closer up to some doubtful and remote truth, not knowing itself for what it is: he will reveal the soul to itself, like "G.o.d's spy."

If you want to know how, daily life goes on among people who know as little about themselves as you know about your neighbours in a street or drawing-room, read Jane Austen, and, on that level, you will be perfectly satisfied. But if you want to know why these people are happy or unhappy, why the thing which they do deliberately is not the thing which they either want or ought to do, read Tolstoi; and I can hardly add that you will be satisfied. I never read Tolstoi without a certain suspense, sometimes a certain terror. An accusing spirit seems to peer between every line; I can never tell what new disease of the soul those pitying and unswerving eyes may not have discovered.

Such, then, is a novel of Tolstoi; such, more than almost any of his novels, is "Resurrection," the masterpiece of his old age, into which he has put an art but little less consummate than that of "Anna Karenina,"

together with the finer spirit of his later gospel. Out of this novel a play in French was put together by M. Henry Bataille and produced at the Odeon. Now M. Bataille is one of the most powerful and original dramatists of our time. A play in English, said to be by MM. Henry Bataille and Michael Morton, has been produced by Mr. Tree at His Majesty's Theatre; and the play is called, as the French play was called, Tolstoi's "Resurrection." What Mr. Morton has done with M.

Bataille I cannot say. I have read in a capable French paper that "l'on est heureux d'avoir pu applaudir une oeuvre vraiment n.o.ble, vraiment pure," in the play of M. Bataille; and I believe it. Are those quite the words one would use about the play in English?

They are not quite the words I would use about the play in English. It is a melodrama with one good scene, the scene in the prison; and this is good only to a certain point. There is another scene which is amusing, the scene of the jury, but the humour is little more than clowning, and the tragic note, which should strike through it, is only there in a parody of itself. Indeed the word parody is the only word which can be used about the greater part of the play, and it seems to me a pity that the name of Tolstoi should be brought into such dangerous companionship with the vulgarities and sentimentalities of the London stage. I heard people around me confessing that they had not read the book. How terrible must have been the disillusion of those people, if they had ever expected anything of Tolstoi, and if they really believed that this demagogue Prince, who stands in nice poses in the middle of drawing-rooms and of prison cells, talking nonsense with a convincing disbelief, was in any sense a mouthpiece for Tolstoi's poor simple little gospel. Tolstoi according to Captain Marshall, I should be inclined to define him; but I must give Mr. Tree his full credit in the matter. When he crucifies himself, so to speak, symbolically, across the door of the jury-room, remarking in his slowest manner: "The bird flutters no longer; I must atone, I must atone!" one is, in every sense, alone with the actor. Mr. Tree has many arts, but he has not the art of sincerity. His conception of acting is, literally, to act, on every occasion. Even in the prison scene, in which Miss Ashwell is so good, until she begins to shout and he to rant, "and then the care is over,"

Mr. Tree cannot be his part without acting it.

That prison scene is, on the whole, well done, and the first part of it, when the women shout and drink and quarrel, is acted with a satisfying sense of vulgarity which contrasts singularly with what is meant to be a suggestion of the manners of society in St. Petersburg in the scene preceding. Perhaps the most lamentable thing in the play is the first act. This act takes the place of those astounding chapters in the novel in which the seduction of Katusha is described with a truth, tact, frankness, and subtlety unparalleled in any novel I have ever read. I read them over before I went to the theatre, and when I got to the theatre I found a scene before me which was not Tolstoi's scene, a foolish, sentimental conversation in which I recognised hardly more than a sentence of Tolstoi (and this brought in in the wrong place), and, in short, the old make-believe of all the hack-writers for the stage, dished up again, and put before us, with a simplicity of audacity at which one can only marvel ("a thing imagination boggles at"), as an "adaptation" from Tolstoi. Tolstoi has been hardly treated by some translators and by many critics; in his own country, if you mention his name, you are as likely as not to be met by a shrug and an "Ah, monsieur, il divague un peu!" In his own country he has the censor always against him; some of his books he has never been able to print in full in Russian. But in the new play at His Majesty's Theatre we have, in what is boldly called Tolstoi's "Resurrection," something which is not Tolstoi at all. There is M. Bataille, who is a poet of nature and a dramatist who has created a new form of drama: let him be exonerated.

Mr. Morton and Mr. Tree between them may have been the spoilers of M.

Bataille; but Tolstoi, might not the great name of Tolstoi have been left well alone?

SOME PROBLEM PLAYS

I. "THE MARRYING OF ANN LEETE"

It was for the production of such plays as Mr. Granville Barker's that the Stage Society was founded, and it is doing good service to the drama in producing them. "The Marrying of Ann Leete" is the cleverest and most promising new play that I have seen for a long time; but it cannot be said to have succeeded even with the Stage Society audience, and no ordinary theatrical manager is very likely to produce it. The author, it is true, is an actor, but he is young; his play is immature, too crowded with people, too knotted up with motives, too inconclusive in effect. He knows the stage, and his knowledge has enabled him to use the stage for his own purposes, inventing a kind of technique of his own, doing one or two things which have never, or never so deftly, been done before. But he is something besides all that; he can think, he can write, and he can suggest real men and women. The play opens in the dark, and remains for some time brilliantly ambiguous. People, late eighteenth-century people, talk with bewildering abruptness, not less bewildering point; they, their motives, their characters, swim slowly into daylight. Some of the dialogue is, as the writer says of politics, "a game for clever children, women, and fools"; it is a game demanding close attention. A courtly indolence, an intellectual blackguardism, is in the air; people walk, as it seems, aimlessly in and out, and the game goes on; it fills one with excitement, the excitement of following a trail. It is a trail of ideas, these people think, and they act because they have thought.