Page:The Tragic Muse (London & New York, Macmillan & Co., 1890), Volume 1.djvu/194

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present conclusions, as regards Miriam, were not indulgent, but that she had a vision of the great manner, of right and wrong, of the just and the false, so high and religious that the individual was nothing before it—a prompt and easy sacrifice. It made Sherringham uncomfortable, as he had been made uncomfortable by certain feuilletons, reviews of the theatres in the Paris newspapers, which he was committed to thinking important, but of which, when they were very good, he was rather ashamed. When they were very good, that is when they were very thorough, they were very personal, as was inevitable in dealing with the most personal of the arts: they went into details; they put the dots on the i's; they discussed impartially the qualities of appearance, the physical gifts of the actor or actress, finding them in some cases reprehensibly inadequate. Sherringham could not rid himself of a prejudice against these pronouncements; in the case of the actresses especially they appeared to him brutal and indelicate—unmanly as coming from a critic sitting smoking in his chair. At the same time he was aware of the dilemma (he hated it; it made him blush still more) in which his objection lodged him. If one was right in liking the actor's art one ought to have been interested in every candid criticism of it, which, given the peculiar conditions, would be legitimate in proportion as it should be minute. If the criticism that recognized frankly these conditions seemed an inferior or an offensive thing, then what was to be said for the art itself? What an implication, if the criticism was tolerable only so long as it was worthless—so long as it remained vague and timid! This was a knot which Sherring-