Page:The way of Martha and the way of Mary (1915).djvu/110

88 and haggle. And the little story of the play shows itself when the ox-cart of the first scene comes in with its burden of laughing girls and swains. Mardzhanof, the producer, does not allow the life of the fair in the background to slacken for a moment in order to emphasise the main story. He lets the fair be the world, which always goes on no matter what story is enacted upon it. Morning wears to noon, noon to afternoon and evening, and the ox-cart sets out again home.

Necessarily there is design in the kaleidoscope of the market as shown on the stage; but then the design is to show what a Russian fair is like, and this of Sorotchinsky is a wonderful representation of the Russian crowd. Every one who went to the performance was struck with the crowd, the way each small part was played by the actor and actress who had it. There was not one of the great troupe who simply walked on and filled a space; every one was realising a separate part. Such individual work was necessary if the psychology of the Russian crowd was in any way to be represented.

The market-place is more secular than the theatre, the church, or the tavern, and yet in it you see the same wonderful national idea (as Chesterton wrote of a similar idea, "It is as if we gazed long at a design full of disconnected objects, and suddenly they came together in a huge and staring face")—divine disorder, the disorder of the starry sky, instead of man's order, instinctive mingling instead