But the question, as to the benefit done
to histrionic art by these representations, remains much where it
was. To revert to the shortcomings of the Elizabethan stage would be,
of course, impossible; the imaginations of the audience would now
steadily refuse to be taxed to meet the absence of scenery, the
incongruity of costumes, and the other deficiencies of the early
theatre. Some degree of accuracy our modern playgoers would demand, if
they disdained or disregarded minute correctness. Certainly, there
would be dissatisfaction if a player, assuming the part of King Henry
VIII., for instance, neglected to present some resemblance to the
familiar portraits of the king by Holbein. Yet the same audience would
be wholly undisturbed by anachronisms touching the introduction of
silken stockings, or velvet robes, the pattern of plate armour, or the
fashion of weapons. After all, what is chiefly needed to preserve
theatrical illusion is a certain harmony of arrangement, which shall
be so undemonstratively complete as to escape consideration; no false
notes must be struck to divert attention from the designs of the
dramatist and from his interpreters, the players; and to these the
help derived from scenery and dresses should always be subordinated.
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