The following essay is reprinted from The Theory of the Theatre: And Other Principles of Dramatic Criticism. Clayton Hamilton. New York: Henry Holt and Company, 1910. pp. 184-7.
Doubtless no one would dissent from Hamlet's dictum that the purpose of playing is "to hold, as 't were, the mirror up to nature"; but this statement is so exceedingly simple that it is rather difficult to understand. What special kind of mirror did that wise dramatic critic have in mind when he coined this memorable phrase? Surely he could not have intended the sort of flat and clear reflection by the aid of which we comb our hair; for a mirror such as this would represent life with such sedulous exactitude that we should gain no advantage from looking at the reflection rather than at the life itself which was reflected. If I wish to see the tobacco jar upon my writing table, I look at the tobacco jar: I do not set a mirror up behind it and look into the mirror. But suppose I had a magic mirror which would reflect that jar in such a way as to show me not only its outside but also the amount of tobacco shut within it. In this latter case, a glance at the represented image could spare me a more laborious examination of the actual object.
Now Hamlet must have had in mind some magic mirror such as this, which, by its manner of reflecting life, would render life more intelligible. Goethe once remarked that the sole excuse for the existence of works of art is that they are different from the works of nature. If the theatre showed us only what we see in life itself, there would be no sense at all in going to the theatre. Assuredly it must show us more than that; and it is an interesting paradox that in order to show us more it has to show us less. The magic mirror must refuse to reflect the irrelevant and non-essential, and must thereby concentrate attention on the pertinent and essential phases of nature. That mirror is the best that reflects the least which does not matter, and, as a consequence, reflects most clearly that which does. In actual life, truth is buried beneath a bewilderment of facts. Most of us seek it vainly, as we might seek a needle in a haystack. In this proverbial search we should derive no assistance from looking at a reflection of the haystack in an ordinary mirror. But imagine a glass so endowed with a selective magic that it would not reflect hay but would reflect steel. Then, assuredly, there would be a valid and practical reason for holding the mirror up to nature.
The only real triumph for an artist is not to show us a haystack, but to make us see the needle buried in it--not to reflect the trappings and the suits of life, but to suggest a sense of that within which passeth show. To praise a play for its exactitude in representing facts would be a fallacy of criticism. The important question is not how nearly the play reflects the look of life, but how much it helps the audience to understand life's meaning. The sceneless stage of the Elizabethan As You Like It revealed more meaning than our modern scenic forests empty of Rosalind and Orlando. There is no virtue in reflection unless there be some magic in the mirror. Certain enterprising modern managers permit their press agents to pat them on the back because they have set, say, a locomotive on the stage; but why should we pay to see a locomotive in the theatre when we may see a dozen locomotives in Grand Central Station without paying anything? Why, indeed!--unless the dramatist contrives to reveal an imaginable human mystery throbbing in the palpitant heart--no, not of the locomotive, but of the locomotive-engineer. That is something that we could not see at all in Grand Central Station, unless we were endowed with eyes as penetrant as those of the dramatist himself.
But not only must the drama render life more comprehensible by discarding the irrelevant, and attracting attention to the essential; it must also render us the service of bringing to a focus that phase of life it represents. The mirror which the dramatist holds up to nature should be a concave mirror, which concentrates the rays impinging on it to a luminous focal image. Hamlet was too much a metaphysician to busy his mind about the simpler science of physics; but surely this figure of the concave mirror, with its phenomenon of concentration, represents most suggestively his belief concerning the purpose of playing and of plays. The trouble with most of our dramas is that they render scattered and incoherent images of life; they tell us many unimportant things, instead of telling us one important thing in many ways. They reveal but little, because they reproduce too much. But it is only by bringing all life to a focus in a single luminous idea that it is possible, in the two hours' traffic of the stage, "to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure."
- How to Write a Play - Advice from Brander Matthews on how to write a successful play.
- Surrealism - A history of Surrealism in the Theatre.
- Theatre of the Absurd - A history and analysis of this dramatic movement, which includes the work of such dramatists as Beckett, Ionecso, Genet and Pinter.
- Three Plays of the Absurd - This collection of plays creates a series of modern myths, tapping into something in the strata of the subconscious, through ritualism and rich, poetic language. The worlds it creates are brand new and hilarious, yet each contains an ancient horror we all know and cannot escape and have never been able to hang one definitive word on.
- 20th Century Drama: Essential Reading List - A must-read list for anyone interested in dramatic literature of the twentieth century.
Back to 20th Century Theatre