False Theory and the Theatre
will certainly be rather shy of introducing Zulus or Red Indians into his dramas, owing to the difficulty in securing appropriate dramatic talent. He will hesitate before making his hero an Eskimo. He will abandon his intention of seeking his heroine in the Sandwich Islands. If he were to insist on introducing real cannibals, it seems possible that they might insist on introducing real cannibalism. This would be quite in the spirit of Nero and all the art critics of the Roman realism of the amphitheatre. But surely it would be putting almost too perfect a finishing touch to the perfection of a work of art. That kind of finishing touch is a little too finishing.
The irony grew more intense when the newspapers that had insisted on Chinamen because they could not help being Chinamen began to praise them with admiration and astonishment because they looked Chinese. This opens up a speculation so complex and contradictory that I do not propose to follow it, for I am interested here not in the particular incident but in the general idea. It will be a sufficient statement of the fundamental fact of all the arts if I say simply that I do not believe in the resemblance. I do not believe that a Chinaman does look like a Chinaman. That is, I do not believe that any Chinaman will necessarily look like the Chinaman—the Chinaman in the imagination of the artist and the interest of the crowd. We all know the fable of the man who imitated a pig, and his rival who was hooted by the crowd because he could only produce what was (in fact) the squeak of a real pig. The crowd was perfectly right. The crowd was a crowd of very penetrating and philosophical art critics. They
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