"You seem in some strange way to be dominated by the shade of Cleopatra. Now, if I believed in metempsychosis, I should think you were Mark Antony brought down to date. There, with that present sober air of yours, you'd pass anywhere for such an anachronism. But to be serious, and to give you advice which is positively bilious with gravity, I should say, investigate this thing fully; make a study of this ancient charmer. By the way, why not begin by going to see Davenport in Sardou's 'Cleopatra'? You have never seen her in it, have you?"
In this way, I succeeded in getting him out of his depressed state. We got into an argument concerning the merits of Miss Davenport's work. I know of nothing Maitland would sooner do than argue, and, if attacked on a subject upon which he feels strongly, he is, for the time being, totally oblivious of everything else. For this reason I trapped him into this argument. I abominate what is now known as "realism" just as much as he does, but you don't have much of an argument without some apparent difference of opinion, so, for the nonce, I became a realist of whom Zola himself would have been proud. "Why, man," I said, "realism is truth. You certainly can't have any quarrel with that." I knew this would have the effect of a red rag flaunted in the face of a bull.
"Truth! Bah!" he exclaimed excitedly. "I have no patience with such aesthetic hod-carriers! Truth, indeed! Is there no other truth in art but that coarse verisimilitude, that vulgar trickery, which appeals to the eyes and the ears of the rabble? Are there not psychological truths of immensely greater importance? What sane man imagines for a moment that the pleasure he derives from seeing that greatest of all tragedians, Edwin Booth, in one of Shakespeare's matchless tragedies, is dependent upon his believing that this or that character is actually killed? Why, even the day of the cranberry-juice dagger is long since passed. When Miss Davenport shrieks in 'Fedora,' the shriek is literal--'real,' you would call it--and you find yourself instinctively saying, 'Don't!---don't!' and wishing you were out of the house. When Mr. Booth, as 'Shylock' shrieks at 'Tubal's' news, the cry is not real, is not literal, but is suggestive, and you see at once the fiendish glee of which it is the expression. The difference between the two is the difference between vocal cords and grey matter."
"But surely," I rejoined, "one doesn't want untruth; one wants--" but he did not let me finish.