Such children, our playwrights;
They labor under the sad misconception
That, having written their labored little prose,
They shall be presented wholly unfiltered by the performers.
From God’s lips to their ears, they say, ostensibly joking
While their features and inflection bear full witness
To how deeply serious they are in truth.
The poor souls have no idea
(Really, no more than infants, every last one of them)
Just how little their tottering little farces have to say
Concerning the profundity of suffering, the fever of desire,
(How could they know, locked away in their rooms with nothing
But their parchment and quills—truly, from whence will come
The Moreto or de Molina for our age, artists yet men as well?)
And yet the trained performer is able
With no more than the odd inflection,
The certain insouciance in the crook of an elbow,
The telltale arch of an eyebrow
As another actor declaims his lines,
Provide blood and marrow to the sad scratchings of the purported author, Create meanings never conceived of by the dramatist.
How many nights have I shot glances
At these poor men of letters, wringing their hands anxiously,
Huddled in the wings on the opening night of their turgid set pieces.
What performances (however involuntary and unconscious)
They would give, faces contorting with surprise and fury,
Fists clenching with rage or grabbing at their tresses
In frustration and stupefaction at what had been made
From their foolish idioms, their labored clichés.
And, after a surfeit of bows had been taken,
They would come before me,
Bowing slowly, stiffly, mechanically in an effort to keep their anger
From virtually surging from their bodies,
Meekly saying *Truly, Senora, I did not know
What effect your legerdemain could have
Upon the audience and my humble words*,
But, for all their politeness, their hatred is palpable,
For I have thrown their cherished natural order on its head,
As I have usurped them as the creator.
Still, one should not be so harsh with these hijos;
The error is a common one:
So many viceroys and kings, so many priests and archbishops
Have tried to fix the yoke of man’s poor misapprehension
Upon the forces of the universe,
Forces which would brush them into the abyss
With no more forethought than they would rend the web
Of the poor, innocent spider.
I have, on several occasions,
Accompanied many a man of means to the gaming table,
Have seen them win handsome sums
And seen others lose those every bit as spectacular.
I have found the victors to be men
Who do not try to ascertain the hidden mysteries of the deck,
Nor bemoan the fact that they are denied the deal,
But rather treat the cards as simple things
(No more than mere bits of paper, drabs of colored ink),
Minute stages provided to display one’s craft and wisdom
In the pursuit of pleasure and profit.
Apr 24, 2017
Apr 24, 2017 at 11:51 AM UTC
Such children, our playwrights;
They labor under the sad misconception
That, having written their labored little prose,
They shall be presented wholly unfiltered by the performers.
From God’s lips to their ears, they say, ostensibly joking
While their features and inflection bear full witness
To how deeply serious they are in truth.
The poor souls have no idea
(Really, no more than infants, every last one of them)
Just how little their tottering little farces have to say
Concerning the profundity of suffering, the fever of desire,
(How could they know, locked away in their rooms with nothing
But their parchment and quills—truly, from whence will come
The Moreto or de Molina for our age, artists yet men as well?)
And yet the trained performer is able
With no more than the odd inflection,
The certain insouciance in the crook of an elbow,
The telltale arch of an eyebrow
As another actor declaims his lines,
Provide blood and marrow to the sad scratchings of the purported author, Create meanings never conceived of by the dramatist.
How many nights have I shot glances
At these poor men of letters, wringing their hands anxiously,
Huddled in the wings on the opening night of their turgid set pieces.
What performances (however involuntary and unconscious)
They would give, faces contorting with surprise and fury,
Fists clenching with rage or grabbing at their tresses
In frustration and stupefaction at what had been made
From their foolish idioms, their labored clichés.
And, after a surfeit of bows had been taken,
They would come before me,
Bowing slowly, stiffly, mechanically in an effort to keep their anger
From virtually surging from their bodies,
Meekly saying *Truly, Senora, I did not know
What effect your legerdemain could have
Upon the audience and my humble words*,
But, for all their politeness, their hatred is palpable,
For I have thrown their cherished natural order on its head,
As I have usurped them as the creator.
Still, one should not be so harsh with these hijos;
The error is a common one:
So many viceroys and kings, so many priests and archbishops
Have tried to fix the yoke of man’s poor misapprehension
Upon the forces of the universe,
Forces which would brush them into the abyss
With no more forethought than they would rend the web
Of the poor, innocent spider.
I have, on several occasions,
Accompanied many a man of means to the gaming table,
Have seen them win handsome sums
And seen others lose those every bit as spectacular.
I have found the victors to be men
Who do not try to ascertain the hidden mysteries of the deck,
Nor bemoan the fact that they are denied the deal,
But rather treat the cards as simple things
(No more than mere bits of paper, drabs of colored ink),
Minute stages provided to display one’s craft and wisdom
In the pursuit of pleasure and profit.
Senora Villegas appears courtesy of Thornton Wilder's The Bridge of San Luis Rey.