1. art and entertainment
2. theatre
3. theatre awards

HOW
r
TO
SEE
A
PLAY
jrtg^^
COMPA^fY
MACMILLAN
TJIE
CHICAGO
BOSTON
YORK
NEW
"
"
FRANCISCO
SAN
ATLANTA
DALLAS
"
"
"
MACMILLAN
Limited
CO.,
CALCUTTA
BOMBAY
LONDON
"
"
MELBOURNE
THE
CO.
MACMILLAN
TORONTO
OF
CANADA,
Ltd.
HOW
TO
A
SEE
PLAY
BY
RICHARD
BURTON
^etD |9orb
THE
MACMILLAN
COMPANY
1914
Copyright,
1914
COMPANY
MACMILLAN
the
By
November,
Published
iqm
Electrotyped.
and
Set
up
PiV
)
"
T
lAl^
^1
"4
Now
M
\j
1
w
'^
isa
here
twenty criticks
are
critickafter his
own
way;
....
and yet every
that is,such
a
one
playis best
because I like it. A very familiar argument, methinks,
and to which an author
to prove the excellence of a play,
would be
"
unwillingto appealfor
very
From
his
success.
Farquhars A Discourse Upon Comedy.
""
8763SG
PREFACE
rriHIS
"*-
It
goer.
treatment
the
that
the
what
he
This
is
the
without
is
and
primarily
to
who
will
attend
influence
toward
alert
body
of
good
drama
of
the
borne
while
I
in
sane
into
put
the
so
creating
theater
will
theater-goer
and
preciate
ap-
of
to
discussion
insist
vu
it goes,
as
this
country
without
The
on
sound
sire
de-
of
manual
a
not
the
hands
the
floiu-ish.
in
critic
the
principle,
far
in
mind,
trust
the
auditors
not
in
playhouse
helpful and,
prove
wisely,
intellectual
be
find
may
interest
his
for
most
while,
and
that
so
hearing.
for
playwright
theater,
worth
should
book,
general
entertainment
artistic
and
theater-
concise
a
the
the
at
get the
may
his
values
seeing
the
of
is not
purpose
reading
many
seat
which
offer
to
use
choose
may
avoid
the
in the
money;
squarely
hopes
upon
person
and
is aimed
book
the
that
be
an
that
which
obligation
plays
is
PREFACE
long overlooked; and justin
too
one
that
drama
ever-growingnumbers
insist in
he does
theater
who
which
come
realize
powers
of the
veteran
actor-manager
low
taste
have
been
of
the
of
fopperiesthey
of, both the
daily table
again he
And
false
or
them.
or
must
true
Hence
served their
as
or
worse
applauds
our
degenerate." Not
viii
diet."
wholesome
"For
:
be;
only can
and
frequentlyfond
so
and
remarks
taste
tenance
discoun-
the trash
naturallyhave
sound
will actors
so
are,
whom
the authors, to the best
and
must
with
been
to
ruptions
cor-
soever)
publick,by
the
againstall
have
actors
of their power,
kind
spiritenough
declare
and
"It
spectator,that the
If
the
to the vitiated
stage (of what
owing.
of that
appositehere:
are
the
live,had
they must
educative
playwrightof
and
therefore, but
is not to the actor
of all
hope
words
The
playhouse.
past, Colley Cibber,
and
be the
must
great social and
the
upon
ter
that bet-
interpretive
insightinto life,will
and
as
skill,
quality
literary
technical
has
far
so
or
their hearers
better, as
discommends
theaters
for
the
a
improve,
moment
is
PREFACE
it
kind,
well
the
make
can
and
feelingfor
heard
this may
technic
practicetherein
perfect. The
his trade, even
attack,
can
as
was
an
Cibber
may
be
be
must,
necessary
his
it
to the
that
it makes
learn
to
ceed.
suc-
point of
(our main
book
iz
gift
must
acquired,and
adept in
cooperation.
ing
hav-
granted,while
another, and
This
a
playwright can
said),the
also become
is
reflection upon
would-be
as
climax
sense
playerand playwright in
in such
least,in
at
there remains
be
to
and
result.
him
be
the spectator
And
"
happiness,which
good
stoutlythat
a
of the
excel in either art,"
self-born
than
But
is maintained
dramatist
wise
The
a
more
of."
and
this. "To
declares,"is
mother
made
not
situation
else.
also upon
something
book
any
and
seeinglife dramaticallj^
nothing
with
born,
are
that
sense
or
playwrights. Playwrightsas
actors
as
a
he
this book,
implied that
coadjutor
theater
success,
operative
part of this co-
is written
to assist
PLAY
SEE
TO
HOW
A
HOW
TO
A
SEE
CHAPTER
PLAY,
THE
rriHE
"*"
tale ; the
novel
abbreviated
of
them,
do
pretty
each
much
be
of
to
of
story implies
events
so
as
say
to
and
that
to
significance
in
of
a
looked
to
in
discover
what
1
is
trying
this book,
a
to
some
called
^
ma-
give
characters
upon,
to
story.
a
definite
rounding
back
All
such
as
a
that
and
tell
to
Ijnean
growth
suggest
desire
is
"
or
ballad.
the
is used
word
story,
epic
thing,
connection
completion, which,
man's
the
happenings
and
a
short
fashion,
same
human
unity
the
it called
own
the
TELLING
story telling, among-
verse,
of
its
as
of
in
the
well
nipulation
sense
and
in
STORY
forms:
version
by story,
it will
A
;
OF
form
a
sucli
several
And
is
play
I
FORM
A
PLAY
a
end.
and
out
and
shall
isfy
sat-
meaning
Life.
A
)
TO
HOW
child
begging
of the
end
and
story,then, has
A
one.
have
to
seen
for "the
knee
the instinct behind the request
middle and
is
PLAY
before bedtime,really
story,"
sents
repre-
sound
a
A
at the mother's
the race;
is
SEE
in the
end, and
righthands
proportion,organic cohesion
Its parts dovetail,
and
development.
at first appeared to lack direction and
is seen
significance
finally
wholeness which
it
makes
is not
story,therefore,
to
as
woven
is in
Art
in its
life,even
if life does not
medley of
A
cidents
in-
verse
uni-
a
and
do
pre-arranged.
this service for
it for
And
us.
of the differences between
life;art, as it
going hfe
were,
one
art
better
of material.
the various ways
referred to of
a
telling
its distinctive method
to separate
characteristics,
others.. The
of art.
that
feeling
does
storj^-making
story, the play has
and
that
disordered and chance-
seems
in this rearrangement
Of
tive
connec-
artistictexture
an
realityordered
herein lies one
and
chance
quickenour
which often
wise
a
what
to possess
work
a
characters ; but
and
so
ning,
begin-
a
storyis told
2
on
a
it from
the
stage,through
FORM
A
PLAY,
OF
STORY
TELLING
impersonationof_eharacter by
the
in word
used
doubly to
ings;
be-
action, assisted bj'^
scenery,
and
stoiy is unfolded.
the
human
The
drama
(a
term
plays in generalor
mean
some
particularplaj^)is distinguishedfrom
mentioned
other forms
in
direct visualized
and
narration
ways
;
writing their
the
in
And
this
the whole
scenes,
handling of
of
shifting,as
it may
by
speeches;the
name
formatio
supplementary in-
that
play,as
being
of better
scene,
indicated
is used
the
on
dialogue and
a
divided
rule,is sub-
lesser divisions within
acts; these divisions
breathingspaces
apart
in earlier
often, especially
into acts and
drama, into
named
parentheses,the
term
same
the
stage for all that lies outside
scene
indirect
also in certain
play are
before
being given to
scenery.
the
for
speakers are
names
is indicated
business
action
of the
the persons
action
substituting
dialogue
printeddiffers
the text; the
from
the
of fiction.
play when
A
.
the
for
used
purposes
plotand exigencies
well
as
for
for the audience.
be added
the
agreeable
The
word
here,is used in English3
TO
HOW
speakinglands
to
SEE
A
indicate
a
whereas
in
foreign drama
the
or
entrance
exit
different
But
of
number
there
a
The
play.
two
hours, "the
mentioned
of scene,
merely
refers
is
a
ganic
or-
attributes
limits of time in the representatio
littlemore
"
hours
than
traffic of the
stage"
necessitates
by Shakespeare
"
the story with
that
deeper,more
stage story
two
to
the stage.
on
these external
stern
of the
change
character,so
a
course,
than
qualities
of
it
persons
of
are,
"
of
PLAY
emphasis
ing
tell-
its salient
upon
points;only the high lightsof charactei* and
event
can
limits.
be
the dramatic
Hence
has
in
most
advantageouslyshown
to
come
a
terse
important
dramatic
within
a
and
be named
in
sure,
plenty which
historyof
that the
essence
drama
of
To
be
fects
to produce efstriking,
recent
but they do
principle;
the
story presenting
excitingthings.
by omission, compression,stress
be
jective
ad-
tellingfashion only the
and
is thus to be
To
the
story, as
show, indicates
such
so
modern
seem
cendo.
cres-
plays can
to violate this
at their
nothing
and
is
and
peril,
plainerthan
good play-making lies
4
in
in
HOW
the
of
the
\ tual
seeing
since
the
on
in the
and
able to
a
judge it all by
character
a
if he
a
the appeal
the
old
life
by
the
here is another
or
or
not
accent
seems
life,will
or
life-like and
tone
in
portrayed,the
more
words
In this
life.
nearer
fortified
by Jbearv
auditor.
reality.If
And
the intonation
of voice of the actor
consonance
with
audience will
6
is
tive
being told,narra-
is also the
test of
and
word
readingthe
seeing is
ing; the spectator
saw.
with
representation
were
book,
the stage story
Moreover,
ac-
ness
truthful-
fashion,of the character's action.
way
seen
this
And
certain
the test of
the mimic
in
this fact.
the spectator,who
because
than
actuality
seen,
stage brings conviction,
reproducing of
scene,
and
of
indirectly
again,
recited.
necessitates
readilycompare
the
or
"seeing is believing,"
by
Scenery,too,
act
narrative
a
heard
imaginationthrough
printed page;
hears
one
advantages
instead of
play-storyis actuallyseen
the eye of the
of
the
issue from
results
important
The
if
PLAY
play,the stage story is both
and
by
A
in mind
Again, having
/
J
SEE
TO
is
the character
be
instantly
A
PLAY,
FORM
OF
detect it and
quickerto
character
same
STORY
to criticize than
shown
were
the spectator insists that
and
which
scenery,
in
dress
furnishes
a
the
insists upon
if the
fiction;seeing,
and
carriage,
ground,
back-
congruous
plausible;and
shall be
auditor
TELLING
hearing,the
speechbeing true
to
y
type.
The
over
has
play
all
through
appeal directly
be understood
who
read
cannot
even
in the conventional
book
witness
a
and
literary,
a
a
in
play
thus it makes
a
for
theless
never-
its
to
,
printed
the story
in pantomime,
being spoken.
may
be
wider,
called
more
appealthan anythingin printcan.
7
closed
the stage becomes
scene,
singleword
therefore,
ature,
Liter-
react
is, enacted
sometimes
without
essence,
and
action
be, and
be
word, which
on
all-important,
secondary to
can
and
drama
a
exhibition of life. The
letters is so
read.
may
sense,
countless
who
theater-goers
to innumerable
can
it is not
ear,
enjoyed by
and
but littleor
and
eye
the story in this form
mean,
can
its
in that, making
printedliterature
at all; I
literary
also
superiority
immense
an
In
un-
cratic
demo-
Yet,
HOW
by
?
written
play are
by
Shakespeare,Moliere
the chief
France
A
PLAY
the words
hke
masters
of
Calderon,
Ibsen, the drama
or
comes
be-
literary
glory of Spain, England,
and
For
in the final
reckoningonly the language that
is fit and fine
classifies it with
be all
play can
one
reads
the drama
"
the house
it may
in company
empty.
remove
aristocratic
some
the
of
to
play
is found
unamples,
ex-
letters.
the
over
in the fact
printedstory, short
one
library,
with many
play be
witnesses
other human
dire failure and
a
this association,
though
And
of
the
experiencesof
definite effect upon
once
ballad, by oneself in the
of the
^unless the
beings
at
the
yet, in the finest
the
long, the epic or
quietenjoyment
way
all men;
thingsto
forms
story-telling
that while
and
creative literature. Thus
peculiaradvantage
other
in books
important contribution
an
or
of the world
its appeal,and
in
literary
A
Norway.
the drama
preserves
/
SEE
interesting
paradox, when
an
the
TO
the
individual
of enrichment, and
even
play itself to shape its nature,
3
refined
more
and
reader, has
pleasurein
reacts
A
upon
a
the
the
curious sort
PLAY,
of
FORM
A
sympathy
is set up
wTight;
throughout an
common
crowd
or
aroused, personalvariations
a
TELLING
not
himself
much
so
conjunctionwith
brain.
others.
than
and
it been
itself,it might
the readiness
conversation
is also
thus
a
nate
domi-
not
one
can
test this
have
laughed
certain humorous
detached
are
which
he
the time
from
to his
subjectedto
psychology.
For
at
all.
fell into
others,a drama
secures
magnetizedmood
the potent influence
this
heard
reason,
and
unique
9
seen
in
that, by and
funny
seem
speech
And
cordial
with the stranger in the next
as
pler,
sim-
the individual
he would
chances
with
hint
conditions
a
offered him
The
a
emotions
of
Any
by asking if
place.
by
creature
receptive
plastic
more
at
uproariously
had
wonder
becomes
whose
be alone.
he would
for himself
so
is a
in
the individual
and
He
analyticprocesses
He
are
in
things sympathetically
less complex person
the
play-
submerged
are
laugh, cry
these
do
as
the
emotions
generalassociative feelingand
does
audience
skillful story of
it receives the
as
STORY
OF
seat
when
of mob
then, among
under
effects of
the usual
response
HOW
in contrast
TO
SEE
A
PEAY
with the other sister forms
of telling
stories.
A
heightening of
effect upon
spectator is gained
to mention
"
by
"
a
work
the compass
dinner
in the
of
and
bed.
A
day, except
the
"
Doll's
has
Jones,
for Short
as
brought
within
the time between
a
unity of
or
pressio
im-
the
be read
cannot
time
to
and
be
can
"
this establishes
\ coherent section
a
in its
while
three hours, and
perhaps
left his seat.
not
whatever
for
superiority
of
the
the
life,which is what
I should be, conveyed in
the whole
10
by
under
a
Ibsen's
or
absorbed
in
But
spare.
Hamlet
Shakespeare's
House
stance,
In-
Modern
A
feat of endurance
a
things being equal,and
^
be
one
play is a gainerover
Tom
in less than
hearer
length precluding
a
receptionat
secures
privilegesof
great play
A
theater
This
Alice
or
unusual
its
in
great piece of fiction like David
or
Copperfield,
a
vantage
other ad-
one
to
evening,in
an
whereby
novel.
extend
of
possibility
sitting,
may
and
the fact that the story which
of fiction may
the
auditor
tirety
en-
the
Other
losses,
play.
A
the story
this brev-
FORM
A
PLAY,
OF
full
be
of
sense
its
this is out
tellingwhere
recipient
may
medium
any
of
the
question. The
of the novel, therefore, supreme
way,
is another
from
another
that Poe, with
merit; "one
there
was
of
this matter
that
read
only
through
thing as
the short
at
one
recalled
It will be
glory."
such
no
in its
differeth
star
brevityof
time
declared
that
unity of impressionin mind,
and
but
of story
merit
in
get
organic unity,cannot
impressivethan
more
TELLING
that the
ityof execution, so
a
STORY
a
long poem
which
poem
could
sitting
ing
mean-
;
be
could
attain to the
highesteffects.
But
along with
these
limitations,too, in this form
of
limitations
play
which
have
much
the
warn
of
the domain
upon
do with
to
certain
advantages go
story telling;
not
to
croach
en-
fiction,and
which
form
what
making
the
it is.
From
its very
thorough-goingin
The
drama,
stern
as
the novel
nature
we
assume
more
the delineation of character.
have
seen,
that much
11
under
must,
restrictions of time, seize upon
traits and
be
can
its
'
ing
outstand-
of the
developI
HOW
has
ment
TO
taken
first curtain.
of
process
SEE
A
PLAY
place before
The
the
rise of
shows
novel
the
character
development; the play
shows
in
what
character, developed to the point of test, will
do when
the test
in the hands
and
to
of
characters
a
the
for the most
play ; in
a
tion
culmina-
a
the
plotthat
the
drama
be
Obviously,in
like
psychology
like
to introduce
the drama
in
measure,
ogists
psychol-
fiction
can
a
more
ful
care-
play-making.
approximation to
12
but
Galsworthy, Bennett
into their
of
penetration
alone
of the late
some
others,have tried
acts
desires of the character
and
the fact that
the best, only an
the
done, in any
of the drama,
sence
es-
novel, slowlyand through
be revealed.
this cannot
and
is
acts, since ^action is of the very
thoughts,motives
spiteof
exposes
part be displayed
stretches of time, not
may
acted
which
In
proper.
Ibsen
being
action and
play
must
in external
and
situation
a
springsof
falls within
long
human
a
long evolution priorto
a
of
method, especially
playwrightslike
exhibit
suddenly by
the hidden
the
of modern
Shaw, is
upon
Its
comes.
the
At
subtlety
be thus attained.
HOW
"that
TO
SEE
people talked
talking;it must
are,
The
and
in the past had
is
the artificialand
has been
so
give his
main
unreal
time values
to enable
as
the stage
on
in its purpose
than
upon
the boards
time
values
This
eaten
minutes
on
are
time of the
is involved
of
a
undergo
can
a
him
to
the stage. In
allotted for
terly
ut-
presenting a
As
cover
is shown
in what
by
a
result all
the way
meals
actual life twenty
the
scamped eating
we
hour is scant
14
be
brief,must
railwaystation,and
an
ology
chron-
age.
proportionateshrink-
be estimated
grievance.Half
time must
would
of
theater.
a
limitation
if true
preserved the play
completestory that, however
a
are
artificiality
; actual
for
makes
time
to make
strengthto genuine interpretation.
balked
more
act ;
as
and artistic,
plausible
far removed
were
never
the actor, who
put upon
necessitybe shortened, for
of
are
trying as
part of his function
as
they
be so."
the strain hitherto
which
there
represent life in speechas well
to
The
PLAY
like that; but
in all lands
drama
before
A
all feel it as
decenc)^for
A
PLAY,
FORM
STORY
TELLING
unpretentious
privatemeal;
the
formal
more
hours
even
half
a
act, or
an
meal
it becomes
as
for this
ford
af-
function,
of state ; it would
thereabouts.
eral
sev-
play could
no
twenty minutes
it
were
and
is better, and
hour
an
likely.Yet
more
to allow
the
OF
consume
Consequently,on
stage,the effect of longertime is produced
by lettingthe
audience
of the feast ; food
of the demands
of
meal
a
made
stand
generaldetails
drunk,
is
the actor's skill
upon
selected minutiae
and
for the real
art is rearranginglife,
under
more
servants
interpolated.It
all these condensed
to make
the
eaten, wine
conversation
waiting,and
one
see
thing; once
severe
sure.
pres-
If those interested will test with watch
hand
A
the actual time
Parisian
by
allowed
Romance,
the late Richard
so
scene
associated with
A.
Heme,
at the
Because
of
brevityof
in Shore
will
such
this necessary
scale of time has to be
or
the memory
they
banquet in
admirably envisaged
Mansfield,
Thanksgiving dinner
James
for the
the
famous
grantly
Acres, fraof the late
possiblybe
prised
sur-
representations.
compression,a
adopted which
15
in
shall
se-
HOW
cure
SEE
effect of actualness
an
of
ance
TO
proportion;the
and
skillful,
A
PLAY
by
a
cunning obey-
reduction
take
desires in such
although
scenes;
the actual
dinner
would
scale is
the result is congruous.
so
is plainthat fiction may
novel
of
time
be
time
more
consumed
reproduced by
And
if it
so
in the
even
by
it
formal
a
the novelist at
great risk of boring his reader.
Again,
with
be asserted
disadvantagesin mind,
that the stage story suffers in that
happenings involved
some
of
must
perforcetranspireoff stage;
the
this is so there is an
noted,
narrative
matic.
show
to
method
Tyros
distinction;and
stated
show
that
a
as
be
whenever
when
drama,
a
the indirect method
when
as
than
avoided
state
the axiom.
has
the indirect
undra-
as
make
possiblea play
here be made,
or
plot
this
it may
generalization
a
to repeat
believing,"
drama
and
play-writingfail to
thing,rather
may
of
events, and
is to
in
in the
inevitable loss of effect,inasmuch
it is of the nature
as
been
it might
it.
be
should
"Seeing is
Yet
a
fier
quali-
for in certain kinds
of
certain effect is striven for
may
16
be
powerfullyeff ec-
FORM
A
live.
The
murder
loses
because
than
Marionettes,
TELLING
Macbeth
in
it takes
in
Maeterlinck
scene;
STORY
OF
PLAY,
his
place outside
the
earlier
for
and
of suspense
tension
Plays
by systematically
of indirection;as
using the principle
The
the
Princesses
Seven
excitingcause
particular
not
seen
they make,
a
the
the audience
great
heightensimmensely the
figures.
unseen
;
We
on
the
aim
of
dramas
may
terrible
to
Horace
the audience, but
these
of
the
has it,not
their
the stage and
value of
the
point to
in their great
narration
the vast
put before
occurrences
populo,as
indirect
are
impression
legend regularlymade
principleof
was
the
play
dramatic
who
Greeks, too, in illustration,
folk
the
are
through
comes
one,
certain characters
effect upon
this
by
of
in
where
princesseswho
the
at all
fects
ef-
remarkable
called, secured
so
rather
gains
of
use
the
when
the
audiences
fable, not
coram
in the presence
of
less,
rather oiF stage. Neverthe-
exceptionscan
be
explainedwithout
that
violatingthe generalprinciple
story it is always dangerous
action that is vital to the
17
not
play.
in
a
stage
to exhibit any
And
this
com-
HOW
SEE
TO
A
PLAY
it will be evident,is a
pulsion,
at times
may
the
cripple
while yet it stimulates
restriction which
of the dramatist,
scope
his skill to
the
overcome
difficulty.
make
distinctive
drama
distinguishit
and
in contrast
play
act and
word,
far
a
and
a
device
of
a
the
in
risingscale
of
a
by
tance,
impor-
tating
limits,necessi-
selection of
careful
and
rial,
mate-
salient
ments
mo-
because
of
divisions,with certain
and
gaining in
thus
this enforced
gainsas
ments
mo-
tension
a
and
of compression
losingthe opportunityto
well because
receiptof
audience
some
through illiteracy,
might
the story
method
carefullyto
more
double
theater
a
briefer time
stress ; while
It
by
act
and
by
intensity
amplify
story molds:
handling of plot;
scene
and
other
heightened interest culminatingin
of
central
form
story-telling
a
greater emphasis upon
in the
the
more
to
go
fiction tells its tale
with
within
and
as
from
scene
which
differences
the
Summarizing
18
the story comes
the
eye
of
whom
be
printedin
acter.
delineate char-
a
and
ear
at
unable
to
book.
The
to
least,
ciate
appre-
play
PLAY,
A
FORM
democratic
is the most
thus
STORY
OF
at the
of
stoiy teUing,and
of
embodying, indeed
TELLING
and
time is capable
same
has embodied, the
creative literature of various
for
a
in
and
lands, the play has begun
as
way
an
art form
of wide
with
to
est
great-
nations.
in
increasingly,
generationnow,
countries
popular form
And
the European
English-speaking
come
into its
unique advantages in
appeal and
19
cultural
own
the
possibilities
CHAPTER
THE
/CERTAIN
^-^
in
remarks
preceding
giving
vast
popular
the
the
he
mode
theater
auditor
say,
it
in
with
A
drama,
its finest
such
musical
other
madr*
to
be
works
a
the
compositions
seeks
art
and
as
art
those
arts
to
That
izing
civil-
and
of
ters,
letsocial
show,
comparable
pictures,
the
stinct
in-
in v^^hat
aspects
of
work
20
incmded
book
of
medium
experience
i
among
higher
this
a
ment
amuse-
opportunity.
by
estate
such
be
furnished
as
of
deeply implanted
place
the
play,
universally
avid
to
its
take
can
and
travel
can
The
and
ever
a
cultural
his
agencies
life.
satisfy
properly
call
would
is to
is
pleasure,
is in mind
what
one.
hearers
hungrily
to
the
ing
story telling, attract-
of
man
turns
at
present
of
because
for
to
the
numbers
and
as
title to
a
hint
of
close
the
at
chapter
democratic
this
OPPORTUNITY
CULTURAL
A
PLAY^
II
ary,
statu-
achievements
is
HOW
TO
delicate art,
and
which
the actor
at least to
A
done
nor
PLAY
justiceto
to his
represents,nor
in it. But
The
SEE
now
has
change
a
the art
own
tistry
ar-
pily.
hap-
come,
lands
English-speaking
have
begun
get into line with other enlightened
countries,to comprehend the educational
of
the
playhouse,and
of the
what
play.
be
may
quickened our
of
The
called
social consciousness
of the social
sense
intellectual status, is
daily life
those who
this
that
of
an
the
think have
societyin general has
And
very
see
final
Gradually
that the theater,
offer drama
amusement;
vital stake in the
entertainment
shaping the
The
to
a
demanded
imperatively
in
influence in
people'spleasure,should
an
significance
multitude.
come
so
and
ideals of
so
re-birth of
people at large.
22
along with
a
ture
na-
surelyeffective
will enlarge upon
chajiter
evident
that
widely diffused, so
the
this idea has grown
has
its esthetic and
enormous
is rational,wholesome
of
tance
impor-
rapid growth to-dayin
institution that,whatever
an
the
the consequent
value
drama
this suggestion.
the
now
which, while
CULTURAL
PLAY,
OPPORTUNITY
stage material, has
practical
and
graces
as
makes
so
of
literature that much
dramatic
now
in
most
notable
time.
our
to be read
the literary
strong
an
appeal
best in letters is
play being
the
form:
writers
Leading
but
to be
everywhere
birds with
write
plays not only
acted, and
who
have
this welcome
earlier and
better
play-makersof
Shakespeare
conditions
the
and
delight. And,
past
"
their
without
that other
civic
moneys
or
given the
national
also
were
"
with
the past,
will reveal the fact
our
own,
value
have
life, often
ways
al-
of the stage
importance in
theater
28
mighty
still read
we
not
for itsmaintenance
to
Calderon, INIoliere,
recognizedthis cultural
hence
as
perceive
the
when
referringto
countries,if
so
return
a
compeers
glance at foreign lands
and
will
is but
of literature which
makers
a
change
quered
con-
stone.
one
student of historical drama
The
that
the
are
letters,yet also
of
the difficult technic of the drama
to kill two
the
contribution, after the novel, of
the theater, who
of
on
our
practicaldramatists; men
men
taken
the
spending public
and
using it (often
HOW
TO
SEE
in close association
with
music)
factor in national culture.
in
fact, and
will
bring
then,
in
home
theater
be made
as
work
far
the drama
know
with
include
and
people at
something
nature
of art ; of the
of
of
a
the
garded
play re-
values,
specific
who
alone
vital;and of the relative
playhousesof
idea of the
conditions.
our
cellencies,
ex-
time,
playwrights;together
plays,playersand
some
there
present, of the historyof
in the actual
of
from
notion, all the
too, of the related art of the actor
makes
training
collegemust
itself,of the
a
ciation.
appre-
theater in its long evolution
its birth to the
the drama
some
feelingis spreading
culture in the curriculum
of the
significance
from
So
this
scheme,
some
in the
school and
seeking to
America
for
The
in its favor.
large are
to-day
navian
the Scandi-
and
educational
being anything Quixotic
fast that
traveler
to
intelligent
playgoing.
signsare
central
a
native
patriotic
for
the modern
should
room
as
impressedwith
but be
suggestivelessons
In
The
Russia
Germany, France,
lands cannot
PLAY
A
rapidlychanging
Such
24
ent-day
pres-
changes include
the
CULTURAL
PLAY,
of
coming
the
of
OPPORTUNITY
velopment
play, the startlingde-
one-act
moving picture,the growth
the
of the Little
Theater, the rise of the masque
and
and
pageant,
so
with
on
yet. Surely,some
so
enjoyment
equal moment
to
of
working
last
are
human
Here
a
fellow
table of
in
is of
marble,
upon
livingof
or
of
normal
a
the time, which
thought.
to
In
the
The
very
stage seemed
consideration.
the
to
And
The
of
it
was
that, too, when
taking over
25
it is
of
such
stitutio
in-
an
as
the
play
printed
exhibited
stamp it as below
a
neglect
the
offered upon
j)layimpliesthat
played.
to think
fact that
mark
lightof
reflect upon
the refusal
until it was
worthy
word
in
logarithms. These
in the
signs of
are
and
the
and
man,
the theater hitherto for centuries
page.
gitimate
for le-
being.
facts,it is curious
of
field
a
of the chemical
knowledge
a
less involved
revolution
as
in
the individual
acid
hj^drochloric
effect of
the
of
obligationsto
of his
view
knowledge
humanly appealing,both
and
broad
tions
other manifesta-
on
serious
the very
to
be
the theaters
by
something
HOW
TO
uneducated
Hke
A
to whom
persons
such
evil
thing
entertainment
the
of
this
play. The
"Of
Lady of
words
but the
peopleflocked only to
miracles
superstitious
playing; and
abandon
of
such
and
as
and
were
also
was
policyof
look
to
and
not
full
just
your
discountenance
thus it fell into the hands
merchants
plays;
bloody martyrdoms;
into straits by the
playersand greedy
pocketsto
Elizabeth
means
the Church, which
royal father, did
in the
know, the
late,as you
taught the people by
brought
of
Shaw, in
Dark
shrewd
Church
so
jurious
in-
thought:
Shakespeare:
and
and
in illrepute. Bernard
Shakespeare and Queen
pertinentto
was
to set this form
the Sonnets, sets certain
mouths
emporium
God
by
upon
combined
that brilliant little
your
placewas,
playhouse,as such,
frowned
to man,
then
a
tanic
commodities, togetherwith the Puri-
that
feeling"
of
PLAY
department store, simply an
a
of desired
an
SEE
of poor
that had
their
the greatness of
kingdom."
Elizabeth:
speak sooth; I
"Master
cannot
in
26
Shakespeare, you
anywiseamend
it. I
CULTURAL
PLAY,
offend
dare not
lewd
so
charge; and
in
done
OPPORTUNITY
unruh-
my
the
place as
a
there
be
Puritans
playhouse a public
thingsto
of
before
mine
its penny
have
ing
mak-
thousand
a
this London
by
from
the
be
your
general
poetry
can
purse.
I tell thee, jNIaster Will, it will be three
j^ears before
hundred
cannot
live
word
that
cometh
whom
God
man
The
by
height
Shakespeare.
from
of
the
Here
was
largein
school and
teacher
was
former
a
of
those
race
by
;
he bulked
to the
an
actor
: a
older
The
actuallywrote
teachingand
result
was
academic
was
always placedupon
the
great mind; and
fession
pro-
of Belial; and
sons
his immortal
poetry in the shape of theater plays. This
sad, indeed!
the
embarrassing
the
also
of
incessantly
perforce. Yet
college,
Shakespearewas
playwrightwho
teaching
writer
poet of the
confronted
given over
a
mouth
incongruous absurdity
in
the master
fact that
alone, but by every
the
the
as
hailed
bread
that
inspires."
illustrated
was
subjectslearn
my
that
in both
was
the
criticism emphasis
Shakespearethe poet,
Shakespeare the play27
SEE
TO
HOW
the illumination
judgment
make
were
their attempts
George
with
the
P.
the
time
and
Baker
as
to
It
mained
re-
scholars
like
Matthews,
Brander
intelligent,
sympatheticcomprehensionof
play as
form
a
of art and
conditioningit,to study
more
accurate
the
the
primarilyas playwrightand
and
of
technic
theater
and
plained
ex-
seats
well-nighuseless.
own
our
the
ignorant of play
so
requirements of
for
in
if
ness
like dark-
more
was
those
visible,because
the
PLAY
hardly explainedat all;or
wright was
and
A
playhouseas
bard
Stratford
give us
so
of
portrait
him
as
a
man
new
and
creative worker.
I
hope it is beginning to
be
telligen
apparent that in-
playgoing starts long before
to the theater.
acquaintancewith
theater
of
and
can
be done
"
and the
ment
develop-
portant
that of other im-
large. This aspect of
in the
in the
dramatic
whose
goes
thing,some
historyof drama,
English culture
enlarged upon
Much
the
one
is its home, both
which
nations
has been
for
It means,
one
contribution
culture will be
followingchapters.
far
28
more
than has been
HOW
the person
TO
SEE
himself
A
because
PLAY
he refrained
from
supporting it.
But
let it be assumed
is in his seat,
of
he
show
presence
a
ready
the
himself
burdened
part
a
by
natural
to
by giving
external
the
sign
the
of
this
the
reverse;
what
those disthroned
to
use
supplement
of
that he is
and
Next,
sympathetic
in this
try
coun-
the hands
large cities,do
;
we
customary in Europe.
the
suppose
in
tellectu
in-
being
human
clappingof
and
only exceptionally,
the hravos
whole;
entertainment.
approval by applause. Applause
generallymeans
a
human
a
gladlyrecognizingthe
of
qualities
thetic
sympa-
positionof
a
with the self-consciousness
critic; but
But
the
of
the audience, as
effect
aloofness
hear
interest,his
implies?
the
resisting
artistic
there, shall
once
at least
approval,or
psychologyof
a
his part in the patronage
do
to
theater-goer
our
good play. How,
By making
not
that
play merit
then?
were
deities,
this manual
their other
not
The
wont
approvalbut
gallerygods,
more
testimony by
extremities, the feet.
30
rudely
the
The
CULTURAL
PLAY,
OPPORTUNITY
effect,however, is
this matter
of
seem
a
piecewhich
does
United
the
but
that the
under
be
a
of
use
negation.
of
help the
But
of
word
passed on
of the
auditor
and
so
the better
this
the end
the
play,
poor
fitted to
with
the
it is thus silent.
with
only
us
An
reason.
ble
audi-
be of value
the rebuke
influence
to others
approve
the bad
view
may
provocation,
might
has
where
of
in
the
fail.
way
31
non-
minatory
If the foolish
he should
play alive by
a
of
ure
assists the fail-
most
play that ought to
keep
is
unworthy plays.
perhaps in
and
a
better
the hiss,heard
of many
attendance
result
all concerned
thing,for
salutarj^
case
The
fate of
expressionof reproof would
the
drama.
audience
an
those
to
were
signifypositiveapproval,
we
circumstances
rare
booing-of
bad
upon
of the drama, because
freer
A
so
is unknown
fortunes
check
spect
re-
would
their wishes
meet
of
hostility
the
judge
its
disapproval,it
chea^^erelement
applaud and
while
not
States
not
Yet, in
in their frank
valuable
a
exercising
In
of
if the British
as
desirable.
not
of
condemn,
his
backing,
winning
at
tlie
HOW
last.
TO
SEE
A
PLAY
Certainly,for conspicuoussuccess
of excellence,if
qualities
some
all of them, must
not
be present.
But
of
nic
also
intelligent
play-goingmeans
of
the art of
the
acting,so
his
player, not
the auditor's
command
he will approve
that the tech-
this
convey
frown
ideal way
information
being to
late and
to
difficultto
actingearlyand
it in the
reflect upon
sence.
its ab-
upon
the
educationally,
the best
see
lightof
principles,
something can
be done
for
the
appreciationof
know
approve
what
the
reasons."
in
college,the
professionof
the
following good
Even
teacher
in school,and
can
as
well
discussion
as
the
cient
suffi-
and
still more
cooperate with the
to
be
and by
professional;
afterward,
32
er;
play-
civilized: "I
more
taught by suggestingthe plays
amateur
ly
certain-
blind, time-honored
I like," the
it for
knowledged
ac-
prospectivetheater-goers
to prepare
substitutingfor
"I
and
attention
while it is undoubtedly more
And
ception
per-
personality,will
trained
skill and
a
not
only
seen,
room
class-
of
the
CULTURAL
PLAY,
OPPORTUNITY
playsbut concerningtheir rendition.
quick to respond when
are
vital
objectlesson
connection
culture.
their amusement
all but
of the teacher
have
could
before
lessons
permanent
the minds
of the
view is
a
hearer
actress
will look
judge Miss
not
allow
the
beyond
questionwhether
cedure
pro-
in
she
an
to
Mr.
sition
po-
night
impart
art
to
eral
lib-
more
istinism.
Phil-
crass
the
the
actor
pulchritudeof
Barrjonoreby
as
late years.
consume
William
33
her power
and
assumes,
argument
avoirdupoisof
himself
a
an
actor's clothes;he will
an
envisaging the part
of
this
appreciationof
overlyinterested
very
to
pupils. Luckily,a
Ethel
a
concerning a great
the fit of
or
to
the
seen
taking the placeof
proper
their
to act upon
used
way
a
and
endangered the
the drama
in any
be
observe
such
foolhardyas
so
assumptionthat
In
at least up
present, or
would
always appeals
glad to
of
time, the eccentricity
recent
the
drama
they are
between
At
this is done, for the
of current
them, and
to
Students
time
not
of
be
crease
to her inHe
over
Gillette in
will
the
pri-
HOW
TO
SEE
A
to
chloral
life is addicted
vate
is
Holmes
victim
a
PLAY
of
because
that
lock
Sher-
most
hensible
repre-
habit.
all he will
above
And
that
acting is
constantlyremind
the
of
art
self
him-
impersonation,
exactlythat; and, therefore,justas high praise
to the
goes
player who
disagreeablepart
the
beloved
from
audience
The
lines which
set
in
award
they like
praiseor
Yet
to
the
jority
ma-
ter
thea-
part with
blame
will also
the stage artist who, instead
attention
him
ing
accord-
dislike the part itself.
or
auditor
intelligent
to
make
the
a
mouth
typicalAmerican
a
hopefully confuse
player,and
as
in whose
one
curtain to curtain.
of persons
the
to
as
playwright has
admirablyportrays
himself
by
the
give
of drawing
of
use
proval
ap-
gerated
exag-
methods, quietlvdoes his work, keeps
always within
his truthful
and
reward.
the stage
picture,and
to
representation
How
is it to
common
he
and
would
infallibly
hissed
be
S4
as
in
see
some
instead of
he deserves
some
to
conviction
secure
his part, who,
player overstressing
being boohed
trusts
and
as
countries,re-
CULTURAL
PLAY,
the
ceives but
OPPORTUNITY
overstepping of
the
playgoer
to
place,for
as
and
teach
long
such
his art.
intelligent
our
pseudo-artiststheir
win
they
as
his inexcusable
modest}^ of
part of the duty of
It becomes
timed
for
applause
more
the meed
ignorant approval,so long
of ill-
will
they
acceptableactor
fail
prefers working
for
flourish.
will the critic of the
Nor
to
that
observe
ensemble
the
phrase
to the
make
the
as
to
to be
that
the
in the
its true
judged,
of
not
by
totalityof impression
to
in which
a
the
iniquity. The
ever
which
each
is
a
others
factor
is
so
properly
detached
from
in relation to the
means
a
in
play
stead
in-
ness
It is his busi-
personal exhibition.
cooperate with
sufficient
a
general public
actor
his work
his fellows, but
of
of
ply
sim-
applause and
secure
eyes
always
flourished
it deceives
to
will
theatrical parlance,
In
stage" has
that
reason
dust
sporting
personal display disproportionate
in the seats
throws
the
general efl'ect which
"hogging
number
iiDorh, in
judiciousgrieve.
the
for
latter
team
"
that
to
"
the
a
singleeffect
in the exact
measure
HOW
of the
importanceof
the dramatist.
a
SEE
TO
major
his
Where
part
Dundreary,
minor
a
it is at the expense
American
Cousin
and
hence it did not matter.
player,as
a
Lord
of the
play;
as
drama,
negligible
was
But
if the drama
while, serious injury to dramatic
is worth
art
follow.
may
Again,
the
intelligent
play-goerwill
distinguishin
and
his mind
between
playwright.Realizingthat
thing,"he
star
laws
will demand
(too often
for
a
an
of his art and
of his
playwrightwho
no
for
coadjutorsin
further.
The
matter
is
that
those
actor
play'sthe
the so-called
even
into
of
drama,
nence
promi-
the
play,nor
him
to go
practiceof giving himself
so
far and
his fame,
dience
unthinking au-
an
complaisantwhen
he does
a
it,makes
center-of-the-
stage prominencebeyond what the drama
36
not
that of the
who, whatever
much
and
the
the work
personalreasons
actor
fully
care-
reason) shall obey
intended
how
"the
foisted
actor
non-artistic
unduly minimize
a
by
part becomes
of the elder Sothern's
case
Our
and
conceived
as
through the abihtyof
one
in the famous
no
PLAY
A
calls
HOW
TO
SEE
tion of life for which
off the weaknesses
all-star cast has been
an
the
of
play revived by
gathered companies of
itself into
of
comes
lost
to
get
of the
day,
culture
for
play is
entirely
which
modest
the
sum.
him
feel that
best
of
more
seat
will
than
which
recent
drama
far less
charge is three
All
or
show,
fifty-cent
38
as
that
worthj^ to
four times that
the land
over
for
second-rate
some
presents a drama
but
an
plays
expenditureof fiftycents
cultivated folk will turn
a
to
come
afford
traveling
company
little more
in his theatrical
playingthe
company,
may
in the theater
observer
will
He
an
excellent
from
nity
opportu-
sometimes
the dollar mark
by
adequatestock
see
The
idea of the
true
will the trained
entertainment.
a
ances
perform-
sightof.
be cheated
is
a
hastily
organicunitywhich
association.
longer
a
playersresolves
noted
quitesecondary,and
Nor
an
Often
of these
one
lack that
must
afforded
made
drama.
interest in individual
an
which
PLAY
if to take the eye of the spectator
provided,as
standard
A
nally
to-day nomi-
scornfullyaway
they call it,only be-
CULTURAL
PLAY,
it is
cause
the
OPPORTUNITY
cheap in
the hteral sense,
high-pricedofferingis cheap in
the
but
sense
overlook
of
cost
the nature
the seat.
of the
whereas
every other
Such
people
plaj^presented,the
and
playwright'sreputation,
the
qualityof
performance;incapableof judging by
tests, they stand
ignoramuses of
confessed
audiences
and
by
judge
what
We
art.
the real
vulgariansand
as
shall not
in American
the
have
ligent
intel-
theaters,speaking
learn
large,until theater-goers
dramatic
it costs
by
wares
crude one, in art,however
other test than
some
buj' them.
to
to
Such
a
test is
infallibleit may
a
be in
purely material commodities; indeed, is it not
the wise
worldlingin
in his
aware
other fields who
general barteringthat
to estimate
his
becomes
it is
purchaseexclusively
by
safe
un-
the
pricetag?
To
inform
who
one
himself
the theater
"
in this way
with
makes
regard
to
the effort to
the
things of
plays,playersand playwrights
concerningdramatic
to the drama
"
historyboth
and
it appertains
the theater; and
the intellectual as well
39
as
as
cerning
con-
esthetical and
HOW
TO
SEE
values of the
human
it will
theater-goingexperience,
apparent that it offers him
become
soon
opportunitythat
cultural
is rich, wide
deepening enjoyment.
ever
PLAY
A
of it,he will
And
taking
civilization
it a part of his permanent
of
vantage
ad-
of the most
dignify one
appealing pleasuresof
and
by making
equipment
factory
for satis-
living.
aspects of this thought may
Other
expounded, beginning with
its
play in
is
of
viewing
theater
a
of
element
a
in the
evening.
given play
one
of
review
knowledge
history;some
obviouslyan
a
now
of
of
a
worthy
dramatic
40
the
which
complete appreciation
For
the proper
should
have
as
they constitute
plays in general,
body
be
literature.
viewed
re-
the
CHAPTER
UP
I ^HE
f
-*-
and
recent
SHAKESPEARE
of
vogue
in the House,
vant
Third
TO
III
Floor
Back, The
Everywoman
plays like The
The
Passing of
Dawn
sends
the mind
back
drama
instruction.
is a reversion
it suggests the
It raises the
blase
even
theater
did the
ages,
to
originof
if
ready
will not
And
the
we
being
religion.
drama
had
response
of the kind.
failed
of
to
modern
41
the
respond,
the
of
suggestion
popularityis recalled
revival
a
type,
of the middle
moralityplay of Everyman
mediaeval
to
plays of spiritual
appeal,even
since, that
as
in
primitiveaudiences
strengthenedwhen
of the
is full of
and
all drama
world
distinct didactic purpose.
is
to the
interestingquestion whether
modern
as
drama
the
of To-morrow,
of English
earlyhistorj^
Such
Ser-
take
men
a
of
few
a
years
typical
It almost
into
account
and
women
looks
the
to
TO
HOW
SEE
highermotives
the
of
to the
loftyand
suggestionsthat
which
by
noble
as
come
to them
of
way
of
purveyors
give added
diseval
have
is
scholars.
touch
whereof
Europe
and
of the
audience
by
many
play's
cathedral,
The
vast
actors
hushed
music,
by incense,lights,
sacred
of the dramatic
the
me-
England
in their details
upon
intoned
that
church, and
regularservice.
priests,the
the
sional
profes-
that the
the statement
the altar end
of the
throngs moved
and
the
Suffice it here to say that the
extension
were
in
described
birthplaceis at
an
experiences,
always religious.The
beginnings
been
late
in the countries
drama
record
have
we
the footlights.
across
theatrical entertainment,
emphasis to
originof
fluence
in-
to the baser
surpriseto
stage is the child of mother
the
the
under
they are
these
case,
any
came
stitutes
con-
psychology; sensitive,plastic
mob
In
that
all,they are
After
like children,when
much
very
in
beings which
audience.
theater
a
failed to
seriousness
of
collection of human
chance
PLAY
the stage ; have
on
substratum
credit the
A
words, and, for the
which
42
was
to be the seed
UP
of
TO
SHAKESPEARE
wonderful
a
portionof
stoled
development,we
the
sacred
of the
place.
would
have
Latin
words;
drama; what
began
as
the
to
is the
Mediterranean,
of
and
of
the
The
good
of time
we
go
and
ever
spiritual,
the
of
and
come
be-
phrase,
into
the
on
Greece
worship,whether
and
art
to
far back
south-lyinglands
within
never
modern
in the foolish
if
church
Dionysian altars
sward.
of
source
find in India
we
alike this union
play began
the
to
it
associations
course
amusement,"
or
as
was
action lent their persuasive
in the
was
holy day
recital of
mere
natural
worship; and
the Orient,
the
and
scene
the
the scenic pomp
of the
the
some
by
out
the multitude
by
Such
church.
"mere
to
been
power
the
lesson
The
brought home
thus
story acted
playersand envisagedin
add
may
reared
or
temple or
fore
be-
the green
upon
the beautiful,the esthetic
intertwined
in the
story
primitiveculture.
And
the
gradual growth
from
beginningis clear. First, a
this mediaeval
scenic elaboration
of part of the service,centeringin
of the life and
some
tion
por-
death of Christ;then, as the
43
HOW
SEE
TO
scenic side grew
grounds outside
of
the
other
of
next, the
the
by
the
Corpus
on
Christi
presentedin
was
to witness
agog
after
of the
extension
motives
of
which
the
the
guilds; and finally
due to the
the personages
giving the
of
name
and
was
brevity,
Aside
much
this
from
the
Morality to
with
a
ther
fur-
the
enlargement
of which
drama
qualities,
this kind
of
simplicity
utter
evolution.
interesting
all technicalities,
and
of moment
ing
present-
presidedover
abstract moral
described
play. Such,
lowed
fol-
vans
admitted
further
writingof
were
populace
story. Then
of the lives of the saints who
of theme
the
corners,
use
the
of
cycleof plays
the movable
it,and
scene
a
with
each other at the street
scene
organizations,
day, one
year,
town
a
auspicesof
the
various
great saints' days of the
rative;
nar-
of biblical drama
taking over
patron saints of the
reverent
a
the Bible
portionsof
to
extension
include
guilds,or crafts, under
when,
as
the cathedral ; an
subject-matterto
treatment
removal
complex, a
more
the
[[
PLAY
A
to the
of
stripped
have
we
specialist,
originand earlydevelopment a
44
blend
in
of
HOW
a
TO
SEE
largerstage,more
A
PLAY
for dramatic
scope
action.
Yet, although for generationsthe play
mained
re-
in subject-matter
and intent,
religious
inevitable that in time it should
it was
realize that its function
life,unbounded
fit material
a
for treatment,
humanity
The
be
and broad
a
and
scene
time
and
free
and
stout
out
And
the
the
Vice
satire
coarse
handling
story, Mrs.
and
in the Ark
terial
mareligious
in the
to
a
of
bestow
Noah
herself in
have
must
fifteenth
into the clown
ratives:
nar-
sacred
naive
more
becomes
unwillingnessto
of
else.
implying irreverence.
whose
of the wet
the
natural
means
no
shrew
by
of
easy
character
by
vital interest
more
introduced into the Bible
Thus, in the Noah
a
since all the world's
easilytraced
humor
tween
be-
large than aught
at
rapid humanization
can
all that
beyond them, being
stage, and flesh and blood of
to
:
earth and
beings on
and hell and
heaven
man
forth hu-
body
Bible themes
by
to human
happen
can
to
was
to
come
the
century
dry
ters
quar-
hugely
joyed
en-
populace.
morality play degenerates
of the
46
been
in
come
while
performance,
UP
SHAKESPEARE
himself
Devil
the
even
TO
is made
for
cause
a
laughter.
when
the crafts took
for
representations;
it democratized
the drama
the
made
was
When
its instructional nature.
pageants
they
as
crossingof
over
the
called,drew
were
and
the ways
the booths,
up
performed
broadly
of
the
pageantry, the spectatorssaw
and
masque
just
prototype of the historic pageants which
coming again into
are
of the future
was
was
popular,natural
to
were
other, later
of
be
the
assure
modified
past and
a
der
long life,un-
here
tions
condi-
These
the
under
literarytraditions; but
which
matrix
and
from
drama
a
conditions.
additions
The
favor.
shaping in
to
possible
the best
of
an
features
decorative
and
flavor
outdoor
now
the
at
hearty,English atmosphere,with
human,
or
their part
story of didactic purport and
some
of
cheapening it or losingsightof
show, without
in
in the advance
significant
step
Another
distorted
cultural
by
fluence
in-
the domination
was
the
inal
orig-
mold.
The
method
of
too, had
presentation,
47
its sure
HOW
TO
this
popular
van,
set
folk
in the second
to be
scene,
of
primitivestages
Since
but
episode or
one
was
cuts
dimensions, the shallow
the
called.
manner
and
defined:
done
multitude
or
the
be
of the
of
play was
of
of
us
depth
the limited
and
the
such
it
are
portraj^al
no
the
the
interveningspace
and
audience, must
a
in
strictly
shifting
close cohesion
part of the story
for
footlights,
be
might
stage,the
a
spot, the play,to get
not
ness
bare-
this earliest of
doors, before
another
there
which
were
across
none
"
was
"
but
separatedactors
conveyed in
broad
the
graphic episodes,
48
of
change
a
simpleaccordingly.
show
of all classes,with
outline and
ed
playhouseserect-
act
Obviously,on
out
told in another
upfittingthe
drama, for such
method
unity,since
their
changed
and
typicalof
accessories
housings of
fairlybe
beneath
its space
need
no
the stage could
Contemporary
of
the
movable
half of the sixteenth century.
given,there
and
The
curtain the actors
a
follow
to
was
beginning.
suggests in form
costumes,
PLAY
which
wheels, with
upon
behind
first
A
the theater
effect upon
where
SEE
ple
simvery
UP
TO
which
attributes
and
finesse,can
quietEnglish
the
cycle,and
bring
relied upon
great
a
town
effect
be
may
could be found
began
which
drama
all,
known
to
sure
urchin
every
open-mouthed
to town,
come
it and
knew
in the front
of
here
possibility
the
announcing drum,
the
the
multitude, the gay
costumes
booth, all ministered
beat of
show
and
natural
not
liberty,
of
particulars
49
delightof
fun
time
re-
ter
the serious mat-
acceptable.With
the broadest
colorful
story. The
and
the serious matter, and
the fun
of
murmur
eager
to the
row
subtlety
morbidity. The
psychologic
in the
hear
the stock
are
were
less of
of scenery,
their
and
each
to
and
populace in
some
gathered to
circus had
the
spectators. No
made
in
It
in the hillside theater of that
concourse
In
we
heved
theater.
a
when,
familiar
myths
sponse
re-
in
day significant
a
crowd
of the Greek
the vast
day.
motley
the Greek
as
material
the
to
event
upon
narratives
the Bible
of
be
booths
annals, the plaj^ers'
church
even
subtleties
spectators in
been
have
must
to-day,despiteall
the
from
and
SHAKESPEARE
and
no
to
shift
say
placewere
cense,
li-
HOW
TO
the
practiced;
and
SEE
A
classic unities
curtain
and
therefore
the two
hours' traffic of the
continuous
in
English play
a
French, for
than
the modern.
in
a
the
shows,
have
made
And
and
walked
seen
at
a
The
comedy.
a
intention for
of moral
sense
beautiful
50
to-day.
in
religious
after
generations
of the church
door.
ligation
ob-
survival of
Oberammergau
play itself remained
out
point of
vigorouslypurveyed
and
farce
inspiredwith
is to be
the
the
primitiveappeals of
the
in their work;
which
was
etymology
secular, but for long they must
became
been
the
as
holidaysfrom
pathos,melodrama,
actors
acted
en-
was
static scenery.
also
which
to
location,deep
of fixed
of the crowd, drama
view
material
first drama
holy days which,
were
history
other nations, the
with
tennis court
and
perspective
On
its
through
whose
one,
interrupt
to
a
fluidity,
plastic
adaptationof
end, in sharp contrast
no
early conditions, the
to show
was
was
stage ; the play was
other
result of these
a
later
a
There
entr'act
no
sense
a
for
were
drama.
sophisticate
more
As
PLAY
The
tent
con-
it had
church
m
UP
took
of
TO
alarm
SHAKESPEARE
last,aware
at
mighty potency
hands.
It
is not
passing
popes
had
edicts
It seemed
rival.
the
This
taken
form
of
to
become
liad its effect in
the
drama
adopted by
was
and
new
ment.
publicentertain-
have
over
later it
find various
the way
on
well
may
of
of its
out
against this
to be
rapid taking
guilds,as
been
instrument
an
to
surprising"
growingly influential
a
that
by
the
still more
worldlyorganizations.
It
to
and
treatment
came;
from
touched
by
Bishop
Still
Needle
or
hurst
for
the
change
subject-matter
higher cultural
and
universities,
where
Gurtonfs
Gam7ner
the
first
folk, as
when
English
based
honorable
Ralph
on
the
play of
it is the first
Plautian
Roister Doister, our
intrigue,is
another
51
the
model
Senecan
because
historically
The
edy;
com-
Buck-
Lord
his associate,Sackville,wrote
English tragedy.
of
the
influences; as
use,
court
frigidGorhudoc
and
schools
produced
school
of
but from
renaissance
from
with
people that
secularization
complete
sources:
the
from
not
was
example
vation,
deri-
first comedy
of
cultural
HOW
which
influences
main
SEE
TO
of
stream
A
PLAY
in
came
the
modify
to
the
development from
folk
plays.
This
in the sixteenth
was
the
over
two
centuries
had
been
forming
as
itself in the
to blend
the story of the drama
The
complex.
more
and
miracle
Tragedy
lead
by
and
plays
Marlowe's
farce. Gammer
English
in
the court,
to
melodrama
Kyd's Spanish
as
II; which
chronicle
III; and
on
Needle,
rhetoric,show
and
the
so
broadly
descent.
popular elements
moralizingwere
52
history
the side of
in its fun, is in the line of
proportionas
in
Shakespeare'sTitus
and
Gurtons
Europe,
morality
naive
Edward
Hamlet
like Richard
drama
And
such
fore
there-
straightest,
is the robustious
directlyon
Andronicus,
the
issue from
genre
illustrated
the
But
tive,
na-
it begot,fast
represented the humanism
natural
turn
becomes
school and
qualifiedthe product.
most
with the
that of mediaeval
classic literature and
which
nursery,
religious
these other exotic and
influences began
literary
and
for
genuine English play
Now
saw.
we
century, but
of
retained,
HOW
TO
city limits,for
Puritan
SEE
the
A
city fathers, increasingly
feeling,looked dubiouslyupon
in
much
already so
amusement
all classes;it
might
a
end
the
could
structures
bank
of the
in interest
being The
the curious
of
as
Thames,
we
house.
upon
Here
a
run
now
forever
at three
stage open
on
tral
cen-
them
upon
the
terial
ma-
playhouse,
Shakespeare's own
o'clock of the afternoon
to the
sky and
with the
of spectatorsstandingin the
lounge the
agonal
hex-
the southward
from
1599
Shoreditch
as
century's
the water,
near
Globe, built in
famed
seen
houses
wooden
look back
now
of the demolished
and
be
with
met
rapidlyincreased,until by
dozen
luxuriant
mon
com-
pitwhere
tra
occupants of orches-
seats, while those of the better sort sat
the stage or in the boxes which
of the house
and
as
within pent quarters.
these
a
with
together
hospitablereception that
half
an
well
as
started,the theater idea
Once
were
moral
its crowding
heterogeneousmultitude
such
favorite
a
a
prove
physicalplague spot by
of
PLAY
flanked the sides
suggestedthe
the earlier arrangement,
54,
were
on
inn
of
galleries
first seen
the
ro-
UP
TO
SHAKESPEARE
bust
predecessorsof
and
Kyd
and
Shakespeare,ISIarlowe,
Peele
and
Nash;
Shakespeare, Beaumont
Jonson
the other
and
names
to
Played
in the
are
the
play
and
daylight,
projectingfar
world
constitutinga
of
representation
small
need
for
of grease
flaringcressets
the mimic
of
on
its
the
beside
plainenough
performance of
powder;
have
meant
an
play in
and
the
as
lights
footness
dark-
these
the
have
vices.
deditions
con-
lars
particubeen
riously
se-
reach the audience
appeal that
55
sad
modern
the
seeing and hearing must
a
is
made
that under
a
was
part of the
have
seem,
set
life
for the
own
of oil that did service
limited in effect. To
must
apart from
story. There
paintand
visible,when
a
the proscenium
garishlightof day
must, it would
It is
the stage,
audience, made
set
of
make-up
actors, since the
revealer
the illusion produced
illusion of
arch, a picturestage
day.
ed,
crudelylight-
most
into the
down
names
this
to
artificial light,
and
equallyimpossiblethe
and
whose
even
deprived of
was
later,
Fletcher, Ben
immortals
conjure with,
modern
by
and
and
was
broadly
HOW
human,
Compelling interest
mouthing
of
dear
the
the blood
to
the
audiences.
from
the
gentleswho
blew
tobacco
such
And
given forth
wonder
get
and
were
to
such
in
the
under
well to add that
of
glories
the world.
which
one
of
is
a
been
daily
fined
stage, con-
comfort
Our
poet
of
sense
greatlyincreased
the
56
fruitful
the
when
accomplishedit.
of the most
der
un-
and
the master
comprehensionof
he
player
a
and
fittings,
of
the
clown
some
have
must
meager
visualized
to
Shakespeare
the entrance
yet, from
of his work
a
and
physicallimitations
convenience,
pipes into
of
interpolations
tiringroom
in extent
we
their
from
while the stage waited
occurrences.
have
the stage and
lounged on
perchanceof Burbage
the
to
Impudent breakings in
smoke
himself; vulgar
elements
groundlings,
the
of
period had
that
play of
delayedin
story,skillful
of
thunder
and
the heart
hold
faces
theater
splendidpoetry, virile situations
that contained
these
guage
lan-
language
a
the Elizabethan
givesus.
always
Fine
and
indispensable;
exactlywhat
is
PLAY
A
dramatic.
essentially
and
was
drama
SEE
TO
ditions
con-
It is
phases
UP
TO
SHAKESPEARE
of contemporary
thrown
first
much
so
the
the
witness
the
The
for the
the
to
gentry
weather
minister
play
as
portionsof
sprigsof
the
or
were
enjoy the
nobilityto
he
not
began
to
not
the
that
touch
of
blage.
assem-
have
been
elbows
he delivered
as
You
aside with
word
better
a
the
in As
lines of old Adam
prived
de-
positionto
it may
the boards
a
a
the
man's
to
play superiorto
a
exchange
and
to
yet in
piece,were
Shakespeareon
be
and
which
seats
too
one
groundlingsin
charming
just before
"To
here; and
However
the tender
It, or
wind
aristocratic
more
with
eration
important consid-
presumably disposehim
receptionof
the
given.
also be noted
pit,albeit exposed to
and
as
restriction consequent
drama
generallyoverlooked.
of
of the
reahze
now
and
interesting
should
ease
We
has
the limits of the scenic representation
styleof
Another
which
the structure
upon
the necessary
and
upon
hght
theaters.
Enghsh
before
never
is that
scholarship
immortal
Like
Burbage
soliloquy,
be," it is certain that these
so
rendition
advantageouslyplacedto
as
a
57
whole
as
were
master
HOW
Butcher
reasonable
seem
to believe
the Elizabethan
And
it would
that the nature
of
play,so broadly humorous,
richlyromantic, so largeand
and
PLAY
A
at the front.
Baker
or
SEE
TO
in
languaged
obvious
of
sort
a
so
in its values
surplusageof
exuberance, is explainedby the fact that it was
the
herd
common
play
addressed
was
the
not
much
to
whom
in
in these
earlyplayhouses:
literature in which
the
as
to take in.
it
in
they were
To
the
dominant.
surelythis
shape the play,to
dominant
fate of
element
a
it
it is
in
an
a
without
new
at the
been
tended
have
democratic
axiom
less
ple's
peo-
that
the
settles the
the theater,was
plaything,
social institution
its evils. The
literature have
more
a
audience
an
only the physicalembodiment
became
must
semble
en-
play.
this
But
make
For
product.
have
piecemust
so
position
attendant
upper-class
the
to
the tout
favorable
a
play the unity of
And
written
was
and
unfolding story
which
particularthe
often
of the drama,
well.
as
splendorsof
blinded
sleazyaspects of
58
the
not
Nor
it
it
was
Elizabethan
criticism to the
problem.
But
in-
UP
TO
has
vestigation
Puritan
from
made
attitude
the
element
and
with
the
there
is
the
its excuse.
first
ver\^
of
apiDarentenough that the
toward
without
not
was
SHAKESPEARE
As
askance
"while this view
became
nothing to
deny
in
any
that the
in
license and
to
the
of
during
our
own
wait
long
the Elizabethan
of
the other
so
that
corruptionwas
of
the
not
hand, the stage
refininginfluence
restraining,
59
of
before
the
he
uality
individ-
did
period,nor
one
legal
or
courted
A"omen
day.
before
actor
his associates,the
and
to
at
likelihood of
levelingup
and
self-respecting
Restoration;
on
the
him
player" had
"strolling
and
appeal
little social
despiteall
professiondue
became
the
them
Shakespeare'sdaj^ had
status; and
of the
dissipation.The
of
ly,
broad-
more
of life involved
nature
with
period carry
England,
the
gained in idealizing
manner
regards the
some
house,
play-
exaggerated
Puritanism
be
class
at the
stage conditions of that time, nor,
to
seen,
respectablemiddle
a
of
have
wx
societylooked
growth
institution
new
not
act
until
the
present possibilities
present. But
without
was
of
their
the
pres-
HOW
a
ence;
a
coarser
result.
so
A
tone
could
and
fact
to
the
feelingthat
layman
no
evidence
which
in
it is
Puritans
avowed
England
Ford, Jonson
But
show
made
the
that
ciety
so-
entertainment
documentary
an
the
possible
institution
of
drama
ster,
Fletcher, Web-
and
which
Dekkar, wi'itings
pride as
creative
include
general
thronged by
was
the devil.
stillpoint to with
worldly
enjoy oneself, and
of
and
noted
are
to the
purposes
exists to
world, could
lewdness
toward
due
sin to
a
does
nism
part of their antago-
doubt
institution which
to
the
of idiomatic foulness
largemeasure,
The
Shakespeare,Beaumont
we
in
playhouse was
derive from
must
to do
morals; and
repressiveattitude
to the
for
breeding
plays of Shakespeare,luckily
the time.
pleasuresand
that any
of
be told of the license and
prevalentat
their
prevailas
continued
its
the wealth
knows
from
need
for
ladies
that
publicopinion of
in the best
not
did
eighteenthcentury speaks volumes
scholar who
hidden
PLAY
at the theater and
into the
for the
SEE
The
masks
wore
TO
abuses
60
our
chief
literature
so
tribution
con-
of
flagrantas
the
to
HOW
notion
SEE
A
that the theater
to
directly
to
TO
these historic
favorable
so
most
a
is evil is to be
causes
soil as
unfortunate
the
history,
PLAY
worst
;
and
ed
transplant-
America, it has produced
results
of
all
in
our
being the
unenlightenedview respectingthe
usufruct
of
so
of
much
an
institution in its nature
good
ahke
to the
classes.
62
traced
masses
use
matic
draeral
gen-
and
capable
and
the
CHAPTER
GROWTH
TO
THE
IV
NINETEENTH
in
T)REPAREDNESS
-^
of
a
of
the
modern
who
the
the
to
during
and
the return
in 1660.
of the
deterioration
the
his mates
which
the
of
was
under
in the
introduced
cognizant of
product in
Puritan
and
of
of
brilliant
63
Stuart
the
close
temporary
into
the
as
influence
tution
the substi-
Shakespeare
corrupt Restoration
of the second
This
the
mighty poetry
of the
master
flourished
or
too, be
the Commonwealth;
for
of
obviously,
more
Shakespeare
must,
public theaters
edge
knowl-
in the preceding
brieflysketched
led up
figure;it
gradual
a
early development
post-Elizabethantime;
of
presupposes
period, with
Elizabethan
central
appreciation
acquaintance with
some
dramatists
as
the
It also, and
pages.
involves
play
origin and
English drama,
CENTURY
edy
com-
England
to
the
with
throne
though brutallyinde-
HOW
TO
of
comedy
cent
SEE
PLAY
A
with
manners,
Congreve,
Wycherley, Etherage, Vanbrugh
har
chief
as
playwrights,while
literatm-e the moral
of
in
nadir
English society,is
dramatic
our
and
manners
much
it
because
of the
it is
politesection
decided
of
Farqu-
represents in
of the
because
history,
morals
and
importance
it reflected the
time, and
quiteas
skillful
conspicuous for
effective dialogueand
characterization,
for
and
scene
situation
a
ing
feel-
all elements
"
in
good dramaturgy.
This
intelligent
attempt
behind
historically
make
the
itself aware
flashingforth
of
with
the
Sheridan
with
Novel; and
another
and
sparkle,wit
a
later
nigh complete
of
the
new
the all too brief
comedy
of
manners
retained
flavor
literary
of the Restoration,
decency and
wholesomer
followed
divorce
of
a
well-
literature and
began
64"
a
again by
stage until well past the middle
century, when
also
earlyin
Goldsmith, which
and
social view; to be
in favor
lies
will
falling
away
eighteenthcentury,
the
what
present drama
of the
form,
literary
to know
the
of
the
the nineteenth
gradual
re-
I?
NINETEENTH
CENTURY
birth of
quahty
drama
a
whicli
of letters and
esthetic art and
an
life : what
made
a
interesting
growth
different
student
hand
be
may
The
Elizabethan
work
his contribution
is
view
of
a
acquaintancewith
practical
The
in
further
Chapter III)
ment
Developand
as
fessor
Pro-
wright.
Play-
a
will find in The
ment
critical treat-
and
bethan
post-Eliza-
the texts,
the
so
that
product may
series also includes
fir)
theater
Shakespeare and
plays good
Elizabethan
many
tive.
authorita-
Dramatist
general reader
of
Schellingon
Baker's
plays,togetherwith
gained.
by
for
Shakespeare
Series of
lightly
studies
thereto
in Professor
of the main
be
but
schools
(referredto
Matthews'
a
be
thorough and
of Shakespeareas
The
wonderfully
of Professor
modern
will be found
and
the earnest
and
directed
drama
The
may
periods and
at
are
reading.
Mermaid
appeal as
school initiated
here, for admirable
upon
scholars
serious
a
the
on
of
worthy interpretation
accomplishment
touched
took
more
Ibsen.
All this
the
once
be called the modern
may
by
varied
GROWTH
the Res-
HOW
toration
TO
SEE
A
in their best
dramas
the Sheridan- Goldsmith
series of
English Literature,where
an
author
introductions
enlightening"
In
apparatus.
technical books
attention to the
A
here
Let
English
the
as
in
in
for
out
to
its
this
unfolding should
under
changing conditions; and
What
framework
lightat
the
been
play.
said
of the
once,
And
be
aspects: the growth of the play
playhouse which
has
phasis
specialem-
that the story of
in twin
the
ment
develop-
developmental
viewed
of
the
give
institution.
it be remembered
drama
more
evolution,and
an
regard
the
earlier,more
complex story of
things stand
few
time.
study
dramatic
of the theater
with
familiar
will receive the necessary
which
difficult part of
other critical
acquaintancewith
further
a
the
printed
are
and
becoming
these aids the reader
hints to
tion
edi-
convenient
section of the Belles
representative
plays of
with
For
examples.
playsa
is that in the Drama
Lettres
PLAY
as
makes
already of
the
growth
it
possible.
the
physical
earlyEnglishtheater
we
saw,
upon
the
throws
nature
of
in fact, throughout the devel66
NINETEENTH
CENTURY
GROWTH
opment, the play has changed its form
relation to the
which
stage upon
The
older
in the nature
change
the
in direct
play has
been
of the
presented.
type is a stage suitable for the fine-
languaged, boldly charactered, steadilypresented
play of Shakespeare acted
platform where
is of
the individual
prominence, and
more
robustious
perforceand
a
jutting
inevitably
actor
poorly lighted
so
scantilyprovided with
and
on
scenery
effects of
that words
actingwere
tler
subinstead of the scenic appeals,
necessitated,
histrionism and
stage which
of the modern
become
a
f ramed-in
with
the
reader
comedy
led
and
and
of
and the
or
to
miliar
fa-
speare,
Shake-
to
on
of Ben
social
plays of
ing
Fletcher, the lurid tragicwrit-
Webster,
the
softer
tragedy
of
Ford
poetry
roUickingfolk comedy, pastoral
serious social studies of Dekkar
wood, he will
hand
back
the proscenium
masque
and
work
himself
makes
Jonson, with the romantic
Beaumont
body
has shrunk
INIarlowe,who
with
and
picturebehind
the
As
arch.
face
plastic
what
he
come
to realize that
supposed to
67
and
on
Hey-
the
be the sole touch
one
of
HOW
TO
SEE
A
PLAY
Shakespearein poeticexpressionwas
the
generalgiftof
poetry,
spaciousdays of Elizabeth,
it were,
as
breathed*; and
Stratford
being in
walked
now
and
others.
as
he reads
and
like
again
glimpsesof
the
from
further
the
grand
a
manner,
the
and
reflecting
upon
public theaters
body
blow
of
way
A
Shirley,
and
steadydegeneration
the
pseudo-poetry
is
of
prepared
the effect of
for
student
this must
the
tragedy
for
a
the
closingof
nearly twenty
will
years
what
appreciate
have been
stage; and
partialexplanationof
*
plays of
comedy.
(1642-1660) the
a
the
integrate
High poetry gradually dis-
into melodrama.
the
by
gleams
that is rhetoric,with the declension
In
the
ness
tragic serious-
and
high poetry
men
the
on
Massinger, Tourneur,
rant, bombast, and
Restoration
air
touched
he will find,along with
Otway
to
very
commonly
heights only
dramatists
the
yet will recognize that
man
And
largelya
to the true
terests
in-
find in it at least
the rebound
to the
a
vig-
nard
humorously yet keenly suggested in BerShaw's clever piece,The Dark Lady of the Sonnets.
fact
68
HOW
SEE
TO
A
PLAY
in the fidelitiesinstead of the unfaithfulnesses
These
of human
character.
plays,like
those of the Restoration
Dealer, The
playhouses,like Drury Lane,
with
interests
change
the
of
of
such
devices
of
These
the
dramatic
of
or
a
to
in the
and
fashion
But
sense
these methods
of the
glad
are
contribution
Goldsmith
at the
same
made
time
to felicitate ourselves
only common
methods
and
we
of the essential
permanent
Sheridan
of
technic.
in
advance
by-gone
use
aside remind
soliloquyand
English comedy.
better
as
frequent
the free
accept, in view
values
to letters which
and
than
The
itself.
subsequent
to overlook
torium
the audi-
arranged
so
epilogueand
the
as
marks
den,
Gar-
the five-act division of form,
scene,
prologue and
the
to
play
gem
Strata-
ill adapted
aristocratic occupants rather
favor
us
the boxes
of
Man
Covent
or
the classic architecture
acoustics,and
Plain
old-fashioned
protinidinginto
the stage
and
to
The
Beaux
still plaj^edin the
were
"
The
The
"
the World,
Relajjse,and
The
Mode,
of
Way
eighteenthcentury
it is
that
past have been outgrown,
substituted.
70
And
we
shall
NINETEENTH
ing
eighteenthcentury play-makappreciate
never
to the full until
life,which
had
others.
Sheridan
Goldsmith
and
characters
and
conventional
Good
in
reading in
From
back
indeed.
may
Shakespearewas
so
great
"low"
sociallyhigh
The
prefaceto
instructive
doctored
king does
;
English stage,looked
an
of
writes for the
a
It did
not
look
so
contemporaries.
as
a
false taste
Garrick
die and
placently
com-
Cordelia
and
prettification
stage,though the
last
;
in which
of Lear
mighty tragedy!
71
time,
our
not
to suit
version
incredible
the
pointof
believe, to
playing in
Edgar
His
actor-manager
an
the ruined
the
the vantage
empty,
we
the
to 1860
from
upon
barren,
common
relation to this service.
1775
appears
back
will be found
Man
the
on
acceptance the
of
out
English life.
Natiired
untrue
to introduce
dared
separationof
and humble
thors
au-
Foote, Colman
of
brought
laughed
and
fashionable
become
in tlie hands
English stage
sense
that the
understand
sentimentality, mawkish
unnatural
and
we
protest againsta sicklysort of
in
wrote
to
GROWTH
CENTURY
man
ries
mar-
sificatio
fal-
Jonson
who
done
have
should
of
because
persisting
effectiveness of
vigor and
certain
a
Virgin-
century, gives us
is stilloccasionally
heard,
ius,which
in
Knowles,
Sheridan
so.
earlynineteenth
the
PLAY
A
SEE
TO
HOW
ioned
characterization,though hopelesslyold-fashits formal
in its rhetoric and
The
good part
through possessinga
us
feelingfor
how
be
Lady of
atrical,
the the-
less criticalstandards, will
dramas
to preserve
defects
whose
are
only too apparent.
now
As
the
fiction of
nineteenth
Reade
to the boards
a
The
gift for
certain
a
coupledwith
combine
Later
the stage cannot
denied, in Money, Richelieu,and
shows
Honeymoon
accomplishedactress.
for the
Bulwer, whose
The
author's
same
preservedfor
Lyons,
lectual.
intel-
conventions, both artistic and
of outworn
is also
obeyance
natural
and
Dickens
man
gave
and
product a frequenthearing on
meet
the beloved
read
of
all
advances
the
fitted
is often
the fact that the latter
and
theater
century
characters
English
pleasure sufficient
to
was
stillgives his
the
stage. To
of this most
widely
fictionists is in itself
command
72
generous
au-
a
NINETEENTH
CENTURY
diences.
Boucicault's
Tom
London
material
good stage
few
and
Acres
Old
the
among
and
characterization
the
fact
reveals
and
by
practically
complete.
There
to
the
and
among
no
so
from
lish
Eng-
divorce
was
wof ul lack
a
definite
no
Authors
who
artistic
make
them
the
together for
a
art maintained
a
print their
corps,
self-conscious
placewhere
its
deavor
en-
were
effort
73
stage
dramas
to
literature throve
was
make
and
leadingor
dramatists
plays,they did
on
binding them
sovereignty.No
representativewriters
all. If such wrote
the
literaryappeal; there
espritde
no
for
wrote
to
encouragement
the theater
English
produce worthy stage literature
other.
got
was
by
for its higher interests
hand, and
one
of
sterling
the
the
1860
publicconsideration
the
Men
structure.
franklyseparatingitself
was
stage
remains, hardly modified
literature,and
on
literature.
many
sporadicmanifestations, that
stage
is
is still heard, in the hands
experimental amateurs,
But
than
distinct merit; his New
of
of
qualities
Assurance
rather
Taylor produced
piecesa
of
GROWTH
first of
it half heart-
I
HOW
edly,and
SEE
TO
as
A
PLAY
exercise rather than
an
practical
a
It is curious to ask ourselves if this falling
aim.
of the
away
had
checked
stage might
Dickens
dramatic
to
given himself
writing. His
direction is well known.
and
days
younger
fine amateur
He
been
more
nitely
defi-
bias in that
playsin
wrote
the
and
dramatic
as
youth to
a
go
perhaps in
he chose the novel and
a
often
the
on
his
life
of his fiction is familiar.
his intention
But
have
throughouthis
was
actor:
theatric character
was
not
It
stage.
so
ing
do-
at
the
depleteddramatic history.
Literature
best
a
who
under
on
plays rather
in
no
dramas
than
of music
sense
are
of
encouragement
trained himself to be
the 'Scutcheon
master
stage, then, had
rightconditions
chagrinedby
was
the
bowing acquaintance.Browning,
mere
might have
and
a
his
a
theater
with
experience
and
thereafter
and
mage
of
closet
Swinburne,
was
imagination,
dramatist.
practical
also for book
Tlie Blot
wrote
actingdrama.
poet,
Shelley's
readingrather
than
in spiteof the fact that his
stage presentation,
Cenci
has theater
to make
possibilities
74
one
re-
NINETEENTH
CENTURY
gret all the
and
aim.
his lack
more
between
and
1850
adapted
or
stage knowledge
is not
an
actingplay,
acted; the sporadicdrama, in fact,
the academic
stage needs;
to
serious,was
lightor
1870,
in
franklyliterary
book
of
Bailey'sFestus
though it was
GROWTH
dramatizations
not
else consisted
or
Reade
from
and
sense
and
of
Dickens;
of
simply representedthe journeymen work
littleor
with
authors
prolific
claim to literary
no
pretensions.
all this
practical
proof of
The
in the absence
of the
of drama
be found
can
book
periodin
form, except for the acting versions, badly
which
printedand cheaplybound,
the
all. Where
literar}^
appeal at
leadingdramatists publishtheir
of course,
or
any
other
publicof
nor
and
an
The
also
of
form
as
ter
mat-
a
fiction
century neither expected
in the
element
drama
no
work
literature,the reading
playsas part of
recognized section
was
to-day our
offeringit as they would
the middle
received
did not make
had
of
longer an
not
their mental
contemporary
only ceased
current
ters.
let-
to be
a
literature,but
expressionof
75
lum,
pabu-
national
HOW
life.
The
came
when
comedies
TO
SEE
first faint
T.
As
after the
has
speak
take them
of
their appearance,
were
a
before.
upon
as
in 1765; and
Caste
with
more
Congreve
they made
from
and
its
more
in 1680, Sheridan
ing
that life interest-
theater-goerswho
play acting. And
To
houses
and
amusement
an
politecircles.
The
for the upper
this
was
a
classes,as
was
sure,
76
town
it
the stage
reckon
to
royalbox
as
longer quitenegligible
be
which
companion plays,of
crowded
gone
social life
once
was
able,
fashion-
occupied,the playhousebecame
no
art.
had
what
on
abstained
once
in
did
But
ears.
recognizethat they
of
is the best, drew
became
and
numbers
large
hitherto had
so
generation,
They brought contemporary
the stage
to
a
technic,
psychologicmoment
great advance
very
or
terial,
flimsyma-
their
of
Court
Caste
see
for trained
the
at
must
or
truth; and
creak
we
the
at
somewhat
rapid development
things
genteellight
read
we
the
mechanical
a
better
produced
Societyto-daythey seem
to
of
gleam
be
to
in 1868.
Theater
PLAY
Robertson's
W.
began
A
a
form
of
drama, and
the Restoration
HOW
Ibsen's
that
nineteenth
SEE
TO
influence upon
He
the
the
gave
formula
for
that the
where
in
dramatic
important
for
and
new
a
play-writing;
could
theater
Even
day.
Shakespearein
play
for the discussion
arena
tionary
in revolu-
century is commensurate
sixteenth.
of the
the drama
results with that of
showed
PLAY
A
vital
of
an
country
one
development has
as
he
questionsof
the
France,
proved
im-
and
be used
the
been
steadily
nearly three centuries, his
fluence
in-
pean
considerable; in other Euro-
has been
lands, as in England, his geniushas been
a
Whether
pervasiveforce.
typicalmodern
in that he has
nic
and
taken
dramatist
the
Both
with
the modern
of the
or
of
of
Ibsen,
tech-
before.
intellectual values
and
exaggerationto speak of
the time
A
the
playwright
in
an
expression
social evolution,
reflecting
bearing the specialhallmark
influence.
no,
Norwegian's
drama, althoughit be
of
spirit
as
son
a
function
regard to
technic,then, it is no
is
the
adopted
serioustythan
more
he will
word
follows
and vital accomplishmentof the
78
on
of
sen's
Ib-
the varied
presentperiod.
V
CHAPTER
THE
T
*
have
TE
^
^
to
MODERN
noted
get
Grein
House,
the
drastic
more
attack
the
it
in London
in their
knowledge
the
years
and
be believed
that
the
the
originatingtheir impulse,was
to let their
79
own
a
and
of
making
still actively
gaged
en-
this date; but
example
of
Jones
Both
pioneersin
in
serious satiric
challengeand
before
by
for the
arena
had begun
profession,
plays some
JDolVs
influence
The
entered
English drama,
new
A
shortlyafterward
incalculable.
Pinero, honorable
that
temerityto produce
Ghosts.
which
of social
was
in the
in 1889
fact,it was
interest in and
of drama
purpose
the
had
followed
and
arousing an
kind
In
Independent Theater
at his
playsbegan
that Ibsen's
hearing in England
a
eighteennineties.
]Mr. J. T.
SCHOOL
of
to write
it may
Ibsen, if
part of the
work
not
couragement
en-
reflect more
HOW
TO
PLAY
spiritand
study
to
character types with closer observation,
their
allowing"
by
A
social time
truthfullythe
modern
SEE
stories to be
theatric convention
shaped not
by
as
honest
much
so
psychologic
necessity.
Jones
Silver
began
with
King (1882 )
,
and
The
Pinero
Middle
Sairits and Sinners
Man
(1889)
with the fortunes
his wife. The
of Sir
the
serious in the
artistic in constructive
long
England.
lists of
acknowledged
Pinero's
in
the
a
earlier
Trelawney of the Wells;
80
are
tically
prac-
authors
of
have
their credit,with
them.
among
be
stylemay
ten
his
was
more
Both
successful
style repeated
that
introduction
masterpieces
enormously
are
these
the
plays to
romantic
of
life and
values; they
synchronous with
now
turning
handling of
cellent
ex-
dates
The
playwrightsto play-making
into
and
Magistrate (1885) being an
in showing
significant
Ibsen
examples;
Squire Bancroft
illustration of the type.
more
are
{1884)
ingeniousfarces happilyassociated
with
skillful
The
melodrama, of which
more
der,
Laven-
Sweet
years
seen
later
mature
man-
in
MODERN
THE
SCHOOL
The
being representedin
ner
Tanqueray,
the
which
in the
the
center
dramatist's
For
time
a
preoccupiedwith
but
inspiration;
Thunderbolt
almost
its
to the
of
failings
Sir Arthur
fine
so
he
clusion.
logicalcon-
it.
from
a
showing-up
middle-class
The
as
well has
as
serious satiric
to be
dramatic
as
get away
can
best work
prosperous
austerely-
play
recent
a
rebel,
seemed
the soiled dove
shows
latest and
Jones'
being
tone
plays
is a social
who
woman
Mrs.
of
number
a
carrying the study to
in
grim
of
best
Second
dency
ten-
of the
ciety;
English so-
this,however, in the main, kept in abeyance
to
its handling:
Mrs.
Dane's
of Rebellious Susan,
Comedy,
The
His
Angel
Lost
The
stand
the time when
for
English theater
several
Liars, The
Rogue's
Michael
admirably able
these two
Bernard
dramatists
that
was
to
to
and
formances
per-
plays so
81
were
change
ing
Shaw, after writ-
piecesof fiction,had begun
his attention
Case
ways.
beginningto produce work
the
Defense, The
Hypocrites, and
in different
At
skill in
story interest and constructive
advanced
to
give
in technic
teachingthat
and
than
decade
a
to
he
get
wide
philosopherwho
was
striking
phenomenon
all the
number
of
literary
polishgave
them
nothing of
the time
Importance.
than
The
also
a
a
Ibsen.
Wilde,
whose
his
wrote
playing
gift in tellinga
his
the
and
excellence
literary
the
For
name.
in its reflection of
point
Fan
farce
and
author's
The
in
such
surpasses
Windermere's
"
English
edy
com-
and
keen,
light,
easy, elegant,
of manners,
more
ter:
English thea-
epigrammatic wit
his
Lady
of the
the
become
to
social comedies
stage story, while
satiric
somely
hand-
early eighteen nineties,
to-day testifies to
with
the theater.
Irish dramatist,
differences,an
likelyto perpetuate
more
has been
brilliant Irishman, Oscar
another
value
to wait
hearing in
Norwegian
little later, in the
the
forced
the
with
a
PLAY
acknowledged by
and
most
A
A
was
a
debt to the
His
wit
SEE
TO
HOW
A
dramas
Woman
farce
dialogueand
society,
"
as
of No
farce, yet
tion
characteriza-
Importance of Being Earnest,
genuine contribution
in its kind.
And
poeticSalome
strange, somber, intensely
remarkable
tour
de
force in
82
an
unusual
is
is
field.
MODERN
THE
tendenc}^to
The
drama
another
as
coming-into
is
is
What
fame.
Uniquely,
whose
work
is of
the
matter
regrettable
very
his
of
among
whimsy
play
vision.
of
His
character
are
human
a
wit.
Puck
One
of the
four of
over
given him
world
English
writers
countless who
preciate
ap-
is in his droll way
and
the
sible
irrespon-
an
idealist's
of
yet gentleinterpretations
based
solidly
on
truth to the
lasting
ever-
traits,and his poetry is all the
better for its foundation
of
to
poet'sfancy
keen
The
Pan,
Crichton, and
social critic beneath
a
genius
of plays;
publication
quality.He
rare
short
unquestionableliterary
quality,
he refrains from
a
of
men
are
have
which
dramas
Barrie,
and
Peter
Knows
and
tvi^entyyears
some
Admirable
Every Woman
dozen
a
in novel
of the few
Little Minister, The
forth
Sir James
stage. His
the
the
story tellingfast
of
case
one
fiction to
set
strikingly
dramatist
a
now
writing for
of
successes
many
story, became
and
form
in the
who, after
from
turn
vogue
embellished
ago
SCHOOL
has
an
of
sanityand
impulse to
call him
English theater; then
83
its salt
feels
the
com-
HOW
TO
add
pelledto
wisdom
Sir
A
which
recognizesthe
with
mingUng
is
James
Shaw
word
a
SEE
the pagan
unusual
as
his.
in
PLAY
Of
late
in
he
inclination to write brief,one-act
adding
to
interest in
our
evidentlyjust beginningto
as
way
shown
an
thereby
pieces,
of drama
form
a
charm.
his
has
ing
lov-
into greater
come
regard.
For
content
both
daring originality
dramatist
of
England.
Ibsen, in that he insists on
as
well
in the
as
his
through
name
vogue
of
Shaw
is
paradox
break
simply
and
honorable
is
a
a
of
of
the theater,
of
thesis he has
To
who
know
or
publicity
his in the
a
self
him-
shape for
and
for
the
playhouse,
dealer
shillelah swung
Philistines
row.
the
in
to
sheer
the few, however,
an
he
rapidlyincreasing,
minority now
deeplyearnest,
to
witty Irishman,
wielder
the heads
Celtic love of
newspaper
a
of
son
experimentalnature
pieceof
some
true
a
the thousands
To
to write.
is
thinkingin
of character
the drama
chosen
He
has led him
his technic,which
and
form
is easilythe first living
Shaw
Bernard
of
constructive
84
social student
!'
HOW
far
ter, so
One
TO
as
SEE
A
contemporary vision
of the most
can
trate.
pene-
interesting
developmentsof
years has been the Irish theater
recent
in itself part of the
of the
The
drama
idealistpoet Yeats, of the
Lady Gregory
richlyromantic
and
the
markable
re-
gentle
grimlyrealisticyet
has carried far
their littlecountry, so
Land
of
that
shrewdlyobservant
of the
Synge
ment,
move-
tion
generalrehabilita-
life of
higherimaginative
people.
The
PLAY
that
playslike
and
of Heart's Desire
beyond
Yeats'
The
Hour
Glass, Lady Gregory'sSpreading the News
and
Synge'sRiders
hoy of the
the
Western
to the Sea
and The
World
heard
are
Play-
wherever
Englishlanguageis understood,this stage
literature being aided in its travels
of Irish
company
world
a
of the
come
from
eyed
that may
devotion to
for its own
an
the
Playersfounded
it and givingthe
exploit
success
by
ideal:
to
fine example
a
single-
namely, the
sake of the
cellent
ex-
entation
pres-
simpletypical
native life of the land.
It should be remembered
86
that while these
THE
SCHOOL
MODERN
three leaders
best known,
are
able Irish dramatists
and
doing nmch
folk:
writers
with
them,
farmer
of Shaw
machine-made
a
up
other
city
or
Robinson.
reiteration
sprung
dozen
Mayne, Boyle, McComas,
the stimulus
againstthe
a
associated
the
interpret
like
and
INIurray,
Under
to
are
half
of
younger
to introduce
piece and
the
some
tire-
motives, there
sex
school
varied
more
in his reaction
which
has
has striven
and
subject-matter
broader
view, also greater truth and
methods
in
play-making.
subtler
ville
belong Gran-
Here
Barker, with his Voysey Inheritance
(his
best
piece),noteworthy also
and
producer; the novelists,Galsworthy
Bennett;
them
among
whose
Hindle
still later
the late
Wakes
won
grim,
Sin; Githa
effective
Elizabeth
critical and
with
Chains
popular
Hastings with
author
play, Rutherford
87
of
Stanley Houghton,
Sowerby,
Baker, with
and
ous
figures,conspicu-
praise; others being McDonald
TJie New
Tragedy
imaginativepoetry mingled
and
melodrama;
actor-manager
Masefield, whose
and
contains
Nan
as
a
to
and
her
of the
Son;
credit;
TO
HOW
Wilfred
PLAY
A
who
Gibson,
studies of east
SEE
writes
in
London
made
of Virtue;
Blindness
Francis, whose
J. O.
and
who
Hamilton,
in his attractive The
think
us
that in form
verse
daringly realistic;Cosmo
is
poignant
brief
Welsh
play,Change, was
recognizedas doing for
country the
service
Yeats
A
and
later
Dunsany,
same
Synge
Synge
whose
has
in book
and
challenged admiration;
death St. John
into
importance as
the
Wilde
Of
all these
have got
a
the theater
the great
he
at
that, after
folly,satirizes
should
offer
never
ment.
amuse-
playwrights,risingor risen,who
hearingafter
profound
early
is coming
taking sides,and
Galsworthy seems
the
his
work
the sort of drama
fashion, laughs
forgetsthat
since
masterlycontribution
a
weakness, refrains from
have
form
dramatic
Hankin's
lightcomedy,
to
arisen in Lord
to have
dramas
by
Ireland.
performed for
seems
led
the group
as
that
the veterans
most
social earnestness
dignityof
his art
for
significant
of his
and
thought,
the fact that
rarelyfails to respect the stage
88
first mentioned,
demand
for
THE
MODERN
interest
objective
these
]Mr.
the
something
dramatist
of
the
in such
examples
are
nic,takes the trouble
stage influence
the most
is a
of
delightfulplay:and
been
with.
to reckon
Moh,
The
stage successes,
stand
tech-
becomes
The
Pigeon,
his dramatic
The
if
high-
to another
acquireit and
to
of
crease
to in-
as
This able and
he turns
genialoutcome
Fugitive and
one
tice,
tragedy,Jus-
handled
so
the
Silver Box,
all and
them
modern
of
the themes
aiming novelist,when
The
playsas
upon
of
compelling grip
their intrinsic value.
a
severe
certainlyputs
Strifeand, strongest of
where
tion.
of fic-
conceptionsand nothing if
his
serious in treatment,
the finest
method
a
Galsworthy,however, though
austerityin
true
mood
analyticway
more
of
rejecting
in
necessityof
the
and
differingfrom
not
far
too
go
scornfullythe legitimatetheater
of amusement
us
story appeal. Some
and
dramatists
new
almost
to
SCHOOL
Eldest
none
Son, The
of them
for work
art,
of
have
worthy
praise-
strength.
On
the
side of
poetry, and
before the Irish drama
attracted
89
coming
a
little
generalatten-
HOW
TO
SEE
A
PLAY
tion,Stephen Phillips
proved that
learn the technic of the theater
demands
with
of reader
and
poet could
a
satisfythe
and
play-goer.
Saturated
traditions,
literary
franklyturning to
legend, and
Mr.
literature itself for
has
Phillips
acting dramas,
all of
written
them
tory,
his-
his inspiratio
of
number
a
possessingstage
value, while remaining real poetry. His
thingsare
former
a
Paolo
and
and Francesca
climax; the latter
Bible' motive.
and
the stage, where
it
and
suspense
Ulysses,while
less suited to
rather
spectacle
seems
act that is a littleplay in itself. Several
and
have
plays
been
like
Tree
Still with
and
Sir
Sir
a
last
of Mr.
sentative
repre-
Herbert
George Alexander.
poetry in mind, it may
that Lawrence
Binyon
distinct power
in dramatic
90
than
elaborately
produced by
successfully
actor-managers
Beerbohm
the
fine too in its central character
drama, is filledwith noble poetry and has
Phillips'best
uinely
gen-
powerful handlingof
a
Very
is Nero;
of
moments
the
Herod,
play of lovelylyricqualityand
dramatic
staged
best
has
given
be added
evidence
of
poetrj^in his Attila,
THE
the
and
Messrs.
MODERN
delicate Pierrot
Housman
in
success
Israel
Granville
technic and
the
show
have
Maugham
and
R.
Parker
in successful
Other
seen
drama
must
is
cases
and
Walk
this
evidence
their pens.
his range
skill
and
for
Disraeli.
category, suggestive
complete,that
the
there is in
land
Eng-
statement
being vigorouslyproduced
part of
United
in the
widely divergent as
so
from
be reckoned
welcome
the
now
from
has shown
It may
ample
hand, and
come
dramas
than
Davies, and Captain
the latter,
Davies, especially
Pomander
rather
The
and
larger themes.
Hubert
Rosemary,
be
God
War
firmer
skillful
a
play,
Sutro, Sidney Grundy,
clever social satire has
Louis
a
progressivelya
of
use
IMaugham,
Marshall
fiction to the
The
plapvrightslike Alfred
of
is
of the Ghetto, Merely Mary
3IeltingPot,
Religion
S.
Barker
genre.
Bennett, from
Children
Ann, The
W.
play, Prunella, by
worthy
Zangwill has turned, like Barrie, Gals-
The
Neoct
and
quiteanother
and
and
SCHOOL
with
as
an
so
91
and
appreciableand
contemporary
States,
that
far, the
letters.
showing
In
is
HOW
TO
less
slighterand
the facts to say
has
waxed
SEE
that the native
the last few
definite
a
toward
movement
In the prose
the
done
Way
the
wrote
of
one
to his
and
Romance;
material
whose
Faith
and
work.
later
Among
fast
are
who
the best
William
The
Easiest
realistic
plays of
dozen
esting
inter-
Nigger
Vaughan Moody,
Great
Divide
Women
recent
Rachel
poet, deserve
are
and
first mention.
increasinglyprominent
activityand
and
and
is healthfully
American
truthful,althoughthe handling is romantic
that of the
have
many
in The
a
ones
pressingto
credit,notablyThe
in both
Healer
so
general
Clyde Fitch,
Sheldon, with
day, Edward
the
and
Heme,
Eugene Walter,
dramas
The
and
playwrightswho
the front,
years) and
social conditions,elder
worthy pioneer
younger
skillful
attempts honestly
Gillette and
like Thomas,
and
reinvestiture of drama.
which
drama
like Howard
men
play-making
adjunct to
reproduce American
to
it is within
serious-minded
more
become
PLAY
impressive. Yet
in
(thisespecially
has
A
in such
hands
as
in this
those of
Flexner, Marguerite
Crothers, Ann
92
HOW
much
done
his The
and
dramatic
body.
Masque,
heroic scale in
an
on
The
Her
in
Avon
the
lovelyreshaping of
best in the hands
Piper, took
years
sented
pre-
lyricor
is JosephinePreston
expression,
legend known
in
1914
Civic
city,testify.A poet, whether
that
outdoor
and
pageant
tuary
Canterbury Pilgrims,Sanc-
of
May
PLAY
A
St. Louis, A
in
on
the
for
as
masque,
SEE
TO
the
prize at
spring Shakespeare
ago,
and
England
writinghas
has
America.
and
not
but
been
as
is
yet
met
Pea-
familiar
of
Browning,
the
Stratford
festival
some
successful since both
other dramatic
Her
so
well the stage demands,
conspicuousfor
and
charm
ideality.
In the
and
field of
imaginative
allegorywe
may
also
Englishman,Charles
romance,
placethe
material.
play.The
Servant
reputationand
Feast
to The
shorter
later
His
ized
American-
Kennedy,
Rann
has put the touch of the poet and
homely modern
poetry
who
prophetupon
beautiful morality
in the House,
plays from
secured his
The
Winter
Idol Breaker, inclusive of several
the
pieces,
one
act form
94
being definitely
THE
MODERN
this
practicedby
SCHOOL
author, have been interesting
work, skillful of technic
social
and
sympathy
Knoblauch, the author
in collaboration
of
the
fantastic
and
maker
surcharged with
significance.Edward
of The
with
oriental
Austin
from
are
whom
Mr.
Bennett, and
Kismet;
divertissement,
The
wrote
much
drama
newer
yet be
may
in the United
to do
perforceomit
and
earnest
most
creditable
conditions
the
learning,
here is to
name
who
desire to
enough
aims
and
arisen
methods
on
that
score
able
showing
are
or
rapidly
are
of
plishment
personalaccom-
that
the native
a
ing
promissoil with
similar to those abroad.
95
I
stage tools. The purpose
to buttress the claim
school has
of
depict American
learned,
of their
use
fullytwo
workers
have
and
ous
humor-
be understood
to mention
young
tice
jus-
clashes
large-scaled
social life,it must
our
a
the
pected.
ex-
States, especially
in the field of realistic satire and
perceptionof
Toy-
the younger
among
In this enumeration, all too scant
to
of Milestones
Faun,
Strong,who
of Nuremberg,
dramatists
and
HOW
TO
all this
And
shows
certain
and
declare
with
the
SEE
A
PLAY
work, English
ear-marks
it of
past. What
it
bind
to
in
day
our
American,
or
together
comparison
these distinctive features
are
?
On
the side of technic,a greater and
insistence
on
with
of
more
tellingthe storj^dramatically,
truth,to the exclusion of all that
is non-dramatic,
of
althoughpreservedin
the theater
the elimination
characters
of
which
for
purposes
the
prologue and
as
of
simplification
ancient
the
form
itself most
has
one
scene
where
the
at the most,
outcome
a
day
or
five ; a
the
two.
and
typicalplay
action
a
few
often
is
pressed
com-
hours,
All this is the
Math its subtlety,
its intenser psychology.
In word, dress,action and scene,
96
vices
desuch
play that
of the influence of Ibsen
methods
expository
useful
of
three acts, and
within the time limits of
or,
necessary
avoidance
and
likelyto
always less than
ventions
con-
subsidiary
and
soliloquy;
that
is almost
but
of
exposition;the
such
the
perhaps centuries;
of old deemed
were
of
for
sub-plotand
the aside and
shall reduce
greater
too,
THE
MODERN
SCHOOL
this modern
type of drama
to life ; and
inclines to minimize
congruous
background,
rebellion
from
envisagementfor
the
which
seeking for
adoptedthe
values
has
this
adapted to
In
to
with
it in the
make
act rather than
to life which
the dominant
note
the social
making
it
also has,
life in its acting
small
theaters
better
penetratingpresentation.
and the author's
marked
a
tendency may
the character
have
variations of motive
more
obvious
with
values: the author's desire to
97
if not
drama,
latter-day
sympathy expressed in
fairlyresonant
tions
reac-
hitherto characterized
equallynoticeable
of this
trasted
(con-
bold attempt to present
in those
and
stage treatment;
Be-
a
key of
minute
more
tinct
dis-
a
it of central interest
plot) and
as
verisimilitude,
in
emphasize personality
drawing,to
been
technic
regard to subjectmatter,
seen
and
implying
new
more
quieter,
a
save
the influence of
built
attitude to his work,
be
thus
effect of
an
naturalistic
and
scenery
stupidlyliteral scenic
lasco is responsible.The
in its
approximatescloser
see
has
it and
kindly human
justicedone
to
TO
HOW
the
a
under-dog in
fraternal
who
weak
are
the social
is the note
The
Kennedy's
of
and
Way
the
Great
in the House,
societyin
The
Walter's
Rebellion,the
and
in
west
which
Salvation
gives meaning
of
contrast
The
of
fellowship
abroad
The
Hauptmann's
to
raignment
ar-
Easiest
It is the note
Nell.
the
Moody's
Divide, and the democratic
Sheldon's
of
in the f raternalism
Servant
east
This
in these writers.
sounds
Paterson's
ideals of
help those
strive to
ill-doers of earth find their
defenders
which
extend
lost; all the underlingsand
or
incompetentsand
and
explainers
; to
struggle
and
the poor
PLAY
derelicts of the earth,
to the
hand
to understand
A
SEE
and
Weavers,
Galsworthy's Justice
kind's The
Awakening of Spring, different
from
they are
fellow's
too, and
and
an
It stands for
each other.
lovingcomprehension of
even
case.
There
in modern
a
as
erant,
tol-
the other
is in it a belief in the age,
man
to
aspiration
Wede-
;
a
faith in
established
see
a
social condition
a
fact, not merely a convenient
which
98
will make
on
democracy
the earth
democracy
word.
catchpolitical
THE
SCHOOL
authors, in their obsession with truth
Some
on
MODERN
the stage, have
demands
the
climax
neglectedthe
the theater
of
crispcrescendo
to
as
much
too
indulgein
a
and
with
growth
gains in
and
the story; a
hands
In these modern
simplified,
deepened,made
sympathetic;and
is
of
course,
But
comedy
has
it
drama
the
and
romance
morality
"
generously,and
who
and
has
it
trained
The
always
that
upon
himself
satiric;
tragedy,
to
the
goer
theater-
know,
to
and
to appreciate
accept rightly,
99
is
offered,steadily,
is now
depends
ex-
these different
high, melodrama,
or
the
still being produced,
or
farce, comedy light,polite,
"
been
literature.
worthy, skillful,refreshingin
broad
play has
plenty;so
will be.
ever
ing.
encourag-
truthful,more
more
means
in
are
the
bad, the cheap,the flimsyare
kinds
writer like
being given
now
that
pressionalform
so
a
both comitries,
modestly second,
America
been,
and
Barker.
the
But
rificed
sac-
tame, undramatic
for example, to
applicable,
Granville
so
of crisisin
treatment
subtle manipulation of
bafflingly
remark
damental
fun-
ject
re-
so
HOW
make
TO
SEE
A
PLAY
the life of all drama
secure
that is worth
preservation.
This
drama
which
has been
beginning
a
"
be
to
serve
may
positionthe
conditions
;
produced
the
survey
detract,it may
not
English theater
of the
survey
to
hoped,
point,he
give him
the drama
as
which
ness,
its clear-
more
a
to
it
a
a
to-dayfor
helpfully
tliisvantage-
From
approach a
respect for
of
consideration
artistic problem. He
an
will
play-goer in
he turns
of art.
now
may
the
from
recreation,deeming
intelligent
stimulatingform
in it from
appreciatethe present
of literature which
form
the
brevityof
place our
better to
and
and
will be
readier than before, perhaps,to realize that the
with
playwright,
of
creature
in
a
double
in the
a
this
historybehind
him, is the
long and importantdevelopment,
sense
manner
:
in his treatment
of Hf
e,
and
of that treatment.
will not stop with
Naturally,the theater-goer
the
English product.
understandingIbsen,
complex
modern
The
as
the main
movement,
100
of
necessityalone
figurein
will lead him
this
to
a
all this
For
witnessing".
and
SEE
TO
HOW
comparisonwill
in-the-seat who
because
tend
A
PLAY
readingand
to make
settles the fate of
he knows
the
him
reflection
a
critic-
playsto-day
plays of yesterdayand
yesteryear.
102
CHAPTER
PLAY
THE
T
AS
^TE
may
^
eration
*
of art and
VI
THEME
AND
now
pieceof
a
VIEW
directlyto
come
of the
PERSONAL
play regarded as
life.
play-going. A
our
thought of
which
as
the author's
their
part;
The
play
has
of
a
tangleof
handful
tangle to
to
which
givemeaning
story, in
there is
a
any
on
a
definite
human
the
subject,
as
human
globe.
a
beings are
direction.
theme, in
But
that rises to
drama
a
sense.
103
and
that
ing
plot: mean-
in which
it is the business
and
on
which
of
course,
to constitute
life
beings in
sum
this
story, of
a
circumstances
of
properlybe
may
of
existence
story is so handled
a
view
a
interrelations
man's
up
intelligent
personalopinionabout
a
complex
make
theme; it has
a
involves
play
work
a
all,this is the
After
central aim in the attempt to become
in
consid-
a
the fates
involved, a
of
the
plot
back of the
some
worth,
Thus, the theme
HOW
of
TO
is the
Macbeth
the natures
upon
and
SEE
of
the
of Ibsen's
evil results of
treatinga
were
a
The
is to be
found
is over
sinks
story-plot,
woman
grown-up
just here:
above
and
life and
thoughts about
have
for
the dramatist.
Give
this
theme
at
from
all,no
the
the interest
of the
stimulating
after
fable which
if it is not
the statement
idea which
and
pla^^house
the technic of the
about
vaguely
a
dissatisfied and
can
one
ruminate
be
made
practical
have
no
take with
at leisure.
dled
hanskillfully
rational auditor
finds in the
playsfall below
104
haps
per-
piecebe satisfying,
anything,the
estimate that all such
he
suggestiveimpulse of
For, although the story may
and
to
tive
distinc-
a
yet
evening pleasantly,
to fill an
is
value
Plenty of plays suffice well enough
test.
if
tion
rela-
no
livinglong
quiteforgottenthe
the framework
him
as
into the consciousness
spectator or reader, and giveshim
may
is the
Doll's House
A
serious realities.
theme, which
of
of sin
his spouse;
and
thing that gives dignity and
play
any
king
puppet with littleor
mere
to life's
PLAY
degenerating effect
the theme
she
A
final
those that
THE
reallyhave
has
AS
PLAY
theme.
Thomas's
fine
theme
embedded
a
pla5% The
in
for its great
good, old-fashioned
a
is at the best
therefore
sake, takes
own
on
in
it illustrates,
the time and under
neither
to argue
It is
involved
story,and
The
a
true
never,
for
a
the audience ;
never
theme
on
ing,
amus-
drama,
cause
virtue be-
added
an
certain
story-setting,
traits to be found
those conditions in the far
is not
a
thesis
have
an
be didactic,
to
moot
nor
a
lugged
does
lem.
prob-
opinionabout
risingnaturallyout
dramatist
he has
a
theme
simply to
in and
at all
apparentlystory
American
and worthy
tj^pical
have
cuted
exe-
Mr.
similarly,
American
capitalwestern
To
thor's
au-
empty, if
an
Arizona, while primarilyand
west.
same
theme
no
boiler. And,
Frankly, it is a pot
at
the
sons
rea-
the dramatist's full powers.
far below
trifle,
for its
of the
one
But
success.
practicedskill,has
Thomas's
INIr.Augustus
LeffingweWs Boots, though
Mrs.
with
:
Witching Hour,
this is
story; and
melodramatic
and
illustrate
To
a
THEME
not
he wishes
in
by
tell
to
a
of
life
the
the heels.
cause
story be-
impose upon
the contrary, he tellshis story
105
HOW
because
he
TO
in its course,
certain notion
a
thingsenters
of the very
is the late
best comedies
spiteof
about
nearer
that
from
of the whole
of modern
Pair
A
times
of Spectacles.
this theme
And
goes
vogue
a
namely, that
theme
so
toward
must, to be
doubt
explaining
this admirable
edy.
com-
clear,agreeableand
in
a
play, as
acceptable,
express
was
would
merely what
he
106
hinted,
the author's
opinion,honestly,fearlessly
put
If it be
is
like fortune.
this theme
And
of the
should
one
far
of
one
beings; in short,
no
a
the best
a
interpretive,
play equally skillful
have had
aad
But, beyond this,it has
his fellow
the remarkable
never
ation,
cre-
atmosphere.
through the kindly lenses
the truth.
Without
self,
him-
sublunary
optimistis not only happier,but gets
results
plot,
characterization,
technic,delightful
heart-warming one:
life
sees
of
coherent
simple,plausible,
a
fable.
interesting
who
in
it like an
Sidney Grundy's
and
a
in terms
and
view
or
from
It has sound
theme,
PLAY
into the structure
and emanates
One
A
life that way,
sees
of drama, and
SEE
ought
to think
sonal
per-
forth.
in the
THE
PLAY
premises,what
what
will not
play,pay
ring true,
It must
A
the
embody
theme
in
to tell us
a
relative to the writer,
it,and nothing else.
sees
be abstract truth,for
view
of life in his
of
statement
in his
happeningsreallyare
experiencehas
in
surely
fail.
or
No
knows
He
too
pays
and
his
:
an
show
honest
human
his
or
the
unique
as
impossibleto
play
the
limited
matter
is
peculiaror
general,then
people
warped,
so
give
must
experience.If
absurd
his themes
make
it and
been
demand
beings and
human
what
He
story which
is the
truth
the paramount
and
is that he be sincere.
him
of the
herein lieshis difference from
Relative
stage story-teller.
upon
to
likelyto fail,
of abstract truth is the metier
aim
plaj-^-maker's
a
he
the
of
lifetime bolster it up.
a
plaj^cannot
and
philosopher,
the
that
think, the drama
to
will be
and
truth
a
life as
fact about
think,
conventionally
opinion,or
if the technic of
even
a
others
it will, in his
producer of
THEME
AS
will pretty
penalty of
degenerate
thing as
he
his
perience.
ex-
sees
it,that he must; and then take his
chances.
107
HOW
And
that
a
than if the author
wind
ago
which
he did
way
of
most
a
faith in such
odd
an
he
of
and
drama
in the House,
in
thing in
the
into
of what
He
he
for
had
an
absolutelyrefused
to
have
the author
was
one
But
faith in it;he had
and
instead
unshaken
demand
conventional
an
a
ideal,when
on,
once
cious.
is effica-
belief in this idea.
he dared
and
tute
to substi-
supposed
table
inevi-
apparentlyunpopular
108
fine
jected
pro-
of cried up
there acted
conquered,because
the
of
sort
been
"
"
such
have
dailylife
in church
week
of
out
ordinarymundane
the idea that the Christ
:
few
a
day,might
work.
a
an
aware
our
did have
who
person
And
ance
accept-
Anybody examining
typicalof
was
forgiven had
a
his sails to
unconventional
into the midst
play in advance,
theme
had trimmed
Servant
English household.
drama
of
introducinga mystic stranger
the East
a
of all belief,
out
better chance
wrote
called The
years
sincerity,
that blows.
of favor
Kennedy
and
monstrous
ajjpears
yet it will stand
Mr.
is
that lies at the heart of
the view
when
the theme
every
PLAY
A
convincing,so winning
so
even
SEE
TO
per-
HOW
many
sides
to Hve
it.
TO
as
there
for
Consider,
dramas
SEE
are
of
from
their
the
of
nmnber
end,
it is
the
play-
MTight'sdesire (more
often
concession
desire) to furnish
others'
to
tradition-condiment,
Now
everybody
play
for
end
its
he
well
does
not
of
is
fool.
the
"begin to
while
its own
some
end
when
the
And
such
audience
malversion
both,
home
so
"happy,"
of art,
"
and
without
110
or
drama,
to
end
manhandled
are
we
pense
ex-
expressedit;
events
presumably
as
the
observed
an
fiction
cheap,dishonest wrestingof
or
fool,
taste, and
truly,begin
themes
a
pleasantness
it is
well," as Stevenson
a
misery
not
the educated
whether
stories,
as
that
have
courts
But, if
then
end.
others, just
Hence,
rather
pleasantnessat
truth, because
defeats
fact that
the
wish
a
longerpleasantto
no
so
would
not; he who
is
sake
own
unwilling
an
"pleasant ending."
a
normal
than
the
deflected
are
through
course
proper
in the world
carryingthrough
the
to
consistently
PLAY
persons
example,
that, instead
theme
A
get
to
a
at all
or
send
ill.
by
acters
charthe
wretched
attaining
THE
PLAY
object in
the
view.
For
the average,
even
audience
of
garden-variety,
such
asked
been
witness
It has
piece of
life, for, testimony to the
to
that is what
trarj^notwithstanding,
takes every
well because
should
be,
two
which
to record
to be
all is
told that
the
on
is
would
any
be consistent with
high a pricecan
be
the
audience
itself,and
paid even
111
not
It is
part of
at
rebel,
would
of commercialized
that
piledon
the
ceive
de-
ant
pleasand
this miserable
yieldinggradually to
notion
never
situation
fairy tale
truthfullythat
purveyors
is
point,
didn't die when
children in the seats.
demand
mistaken
too
a
who
coincidence
because
presto, a lie has
play to
the hero
make
to
the very
certain
united
cow
fairlyintelligent
a
wares
a
audience
an
convincing;then,
are
persons
reallydid, or
coincidence
to
life is
because
or
Up
a
con-
that
leavingan impression
for the sake of
he
be.
play to
presentationof
this
"
nefarious
a
transaction.
real
or
sult
at the in-
is uneasy
intelhgencein
its
offered
THEME
AS
sighted
short-
dramatic
lightened
en-
more
wants
a
feels that
for the
good
HOW
TO
ending whose
with true
SEE
play
a
of
and
of
giving it the unity of
paying it undivided
doubt
the
for
Not
bad
at
of effect derived
the
times
sake
is
resisted
to
as
temptation
be
if
theater
sinned
not
seldom
introduced
and
truth
have
by
met
the Greek
strayed from
do with
all
late
practical
But
color, but
audiences
self-
Clyde Fitch,
though
with the famous
he
was,
times
some-
novelty
little related
so
might
The
112
"What
remark
well
questionasked
of their dramatists
their theme:
Apollo?"
No
one.
effective for
scenes
is almost
none.
that the trained auditor
him
temporary
in this respect. He
of local
to the whole
from
to remain
the}^are
skilled
the
have
terest
in-
ter
mat-
theme
considerable
a
The
of
of
to
comes
respecting artists.
man
subject
his main
to stick to your
playwrightsand
it must
the
attention,extraneous
is introduced
alleviation.
which
his
stickingto
the wholeness
and
as
dishonesty,in
fails in theme, is to be found
whenever, instead
matter
played havoc
interests.
mode
writer of
PLAY
false deification has
dramatic
Another
A
who
has this to
appliesto
the
PLAY
THE
THEME
AS
in his
drastically
powerful*scene
play
The
where
City,
desire to
of in the dramatist's
to
climax.
It is
secure
only
the final
this
was
The
gift
for
his
two
In
him
to
acts of both
such
a
been
defect
of
againstthe
not
of
gift to
that
many
No
run
logue.
dia-
the
portance,
Imaway
opening
speecheslifted
sundry persons
others.
might
have
of those
success
possessedin
Woman
of the
speechescould quiteas
spoken by
which
paralleled
un-
trarily
seemingly,and placedarbi-
in the mouths
have
A
piecescontain
of the
almost
an
comedies, Lady
extent
an
from his notebooks,
play: some
had
this
allowed
he
to
questionthat
no
clever
and
thor's
au-
modified
witty epigrammatic
Fan
Windermere's
with
Wilde
late Oscar
the
at
Fitch.
tendency with
a
this
that, had
been
is
there
But
extent.
some
in his
effect
molding
hands, it might have
sight
material well
use
fair to say
was
is lost
sensational
a
received
drama
which
theme
the
in the first act
plainlyannounced
adapted
posthumous
full
measure
113
This
well
constituted
militated
seriously
dramas
had
they
brilliant qualities
HOW
of
TO
SEE
constructive
genuine
theme, after all,was
and
so
the
was
motivated
not
serious
humor
and
to
The
the
the
lightenit,and
;
*
or
be that the
it may
of
those
to confuse
lead them
player with
that
departurefrom
of
some
he knows
of
he is
his art.
is deemed
quired
re-
sary
neces-
sightedness
short-
ignoranceor
producing the play
will
the interests of the chief
of the
pieceitself;and
follow, and unitybe
theme
is what
That
steadily
short to fillthe
padding
so
is too
Ghost
perhaps the play is too
and
producer
playwright,poor,
sinning against the Holy
time
by
drama
insertion
wight, yields,though
helpless
Or
much
that its tone
demands
dialogue
necessitated
or
this fault.
play declares
started;
was
But
injury,and
from
to-day suffers
it
handling.
an
The
play-making.
character
by
PLAY
there,once
deft
story is always
of the
A
unitymeans
:
so
a
rificed.
sac-
to
sticking
theme.
*
When
our
theater
plays will not, as
natural
time
after
and
size, but
the
piece,as
at
will be
now
become
thoroughly artistic,
present, be stretched
evening
is
has
confined
filled out
so
common
114
to
with
beyond
shorter
a
a
out
curtain
abroad.
the
playing
raiser
or
THE
And
PLAY
unity of story, be
of theme.
This
in
purpose
It
was
the
to-day,though
abandon
be
not
for
the
emphasis upon
the main
tighteningof
the texture,
of
splittingof
a
it in
see
for
is
"
moment
to
shall be
major;
design,which
resulting
an
risk
a
ondary
sec-
as
"
we
of Venice, or,
Sweet
Those
never
and
into
interwoven
greater
that
ender
Lav-
who
will be careful
success
plot shall
be
of
the
seen
technic
right hands
legitimateenough.
that the minor
stillbe
However,
instance, in Pinero's
it with
'drama.
a
avoidingany
Shakespeare'sMerchant
modern
a
is known
modern
plot and
the
in
sake
interest.
subplot in
or
against all
what
can
tendency of
it
it
allowed
past and
unity
on
singlenessof
imply that
not
in the
common
is to
waits
sure,
play, clingingto
a
subplotmay
a
THEME
insistence upon
allurements, does
as
AS
nipulate
ma-
to
see
appear
for
both
strands
essential
a
unity of
is admirably illustrated in Shakespeare's
comedy justmentioned.
Have
and
every
a
theme
then, let it be quiteyour
stick to it,is
dramatist
a
succinct
will do
115
own,
injunctionwhich
well to heed
and
the
HOW
critic in
Neither
the
one
that the
TO
SEE
seat
will
do
the other
nor
and
one
A
about
the
the
that idea
of
magnetized center.
place are
aimed
at, and
of
the
the
action
unity in
is
temporal
gathers
around
filings
unities of time and
the kind
upon
unity of
which
iron
The
conditional
forget
ever
to come,
surelyas
as
demand.
to
fundamental
only
unity
well
should
drama, past, present and
idea, and
PLAY
and
of
drama
acteristic
physicalchar-
theater; the Greeks
obeyed
them
for
many
lands, beginning with the Romans,
peculiarto
reasons
the
Greeks, and
imitated these so-called laws since.
si:)eare
if
in
an
destroyedthem
time and
unity of
Ibsen
he
mind
which
;
looks
(when
he
has
seen
that, in the
in the
theme
for the sake of that
helps to
to be
day,
to-
we
place
unity of
have
a
to the constitution of the
ease
hold interest and
such unitythere
pleasure,
man
But
unity of
means
which
principle
human
place are
and
writes,time and
naturallyrestricted.
action which
Shake-
England,
play,it simply means
drama
psychological
are
for
But
have
one)
116
must
of attention
produce
be ; the mind
is made
that way.
of
HOW
handling of
to
is not
the former
if the
sincere and
PLAY
play-maker
be
humanity
at
the
be avoided, and
at the
time
same
in
healthily
representative
to life of
lief.
be-
right because
should
Both
is to be preferred
deflection from
a
consciously
latter is wrong.
will be
A
that is honest
theme
one
But
SEE
TO
his
action
re-
large. The really
great plays,and the good playsthat have shown
a
lastingquality,have
these
in
sinned
of
particulars.
It is
of import
especially
insist
the-seat should
appeal,because
that
happens
ours
lawless
imaginings are
literaryand
earlier
other
to be
in
the
mighty
flagrant. All
the
of Art
more
need
to be
quick to reprimand
the abnormalities
of.
name
spectator in the theater, or
play at home,
alike tame
he
who
as
and
in
an
abuses
many
for the
and
knowing
reads
the
his function,
subserviencyor
of unrestrained
118
The
are
prepared for
is fair to say that absolute
freedom
a
general such
day hardly conceived
when
day
a
theories
granted
art
of normal
this matter
on
critic-in-
our
personal vagaries,extravagant
under
neither
"genius." It
honestyon
the dram-
THE
PLAY
atist's part in the
of theme
will meet
his work.
Within
the
us
AS
THEME
conceptionand presentation
all
legitimatecriticisms
his limitations,
we
best that is in him, if he
life
as
he
sees
it,and
have
his convictions,
allowingno
his work
from
that purpose.
119
son
will
shall get
only
the courage
of
man
of
show
of
to warp
CHAPTER
METHOD
VII
STRUCTURE
AND
I
far
SO
dramatist,
the
conceiving
of
toward
and
great importance
this
little
a
problem
that
the
At
Every
stage
central
in
a
of
the
nay,
there.
there
would,
is
scene,
be
seen
is the
drama
could
plot
the
120
conceived,
or
for
the
that
subject dramatically.
explanation
not
unfolded
play
French
out
With-
being.
exist
;
if
without
would
strictlyspeaking,
why
peculiar
understood
reason
told, the
that
That
its
the
were
presenting
his
which
play,
the
him.
story should
moment,
story
see
it is
examine
now
may
let it be
moment
whole
that
the
must
handling
realize
to
confronts
beginning
dramatist
the
detail,
in
we
of
ter,
mat-
his method
But
and
this material
subject
and
it.
of
material
the
his theme
his attitude
and
in
considered
have
we
fall flat,
be
no
play
(leaders
in
METHOD
AND
nomenclature,
scene
in all else
as
faire,the
a
STRUCTURE
dramatic)call it the
that
scene
do;
must
one
adopt the Englishequivalentoffered by
to
Archer
in his
and
interesting-
able
or,
Mr.
manual
of
stagecraftentitled Playmaking, the obligatory
that is,the
scene
:
This
moment
it is the
growth
scene
is
one
in the story is
crowning result
of the drama
to
all the
height and
excitement
results.
other
or
This
and
wills
againstcircumstances
something must
implicatedthat
be
against
; events
hapj^enin
Thus
along
in
a
the central
the backbone
If this
order
with
to
the way
of cutting
are
so
be either saved
break
the clash
are
further involved
no
their lives must
destroyed,in
and"-
suspensiveexcitement
the knot; the fates of the persons
or
its
reached
the clash ot'human
tangledthat they can
so
has
the
electric effect of suspense
an
depends upon
each
preceding
pointwhere
a
steadilyincreasinginterest
show.
climax, because
a
of
up
obligedto
goes
the
a
deadlock.
crisis presented
breathless climactic effect which
and
imperativescene
of every
of
the
piece,
good play.
scene
obligatory
121
be
absent, you
is
may
^
HOW
at
TO
other
virtues
he is not
stillother
of drama
It is sometimes
backward.
within
leads up
might conceivablybe
has been
after
comes
gracefullyfrom
showing
after
conceived
and
it is
such
not
or
anti-climactic.
is
scene
of
as
way
an
to be
done
to
any
tory
obliga-
shaped; all
to
retire
rounding it
in
conventional
dull, or
auditor
the theater back
actual
gradation.
play-goerwill deny
the
follows this inevitable
What
experienceof
in
this fundamental
lightof day
common
bridge conveying the
humdrum
is written
conducting the
(however disguised)at
pleasureof
storj'in
a
attempt
results,and
to the
probable
preparationfor it,and
written
spectator back
a
play
a
the great moment,
its
terization,
charac-
fore
climax; all that goes be-
it,is
to
to tell
has in mind
remark
fact of the
is
his
stage limitations.
said that
The
scene
merits),it
genuinelycalled
one
manner
out,
PLAY
excellent
(finedialogue,
or
that
A
suspect the dramatist; whatever
once
the
SEE
And
the coveted
plaj^,albeit
122
from
bottom
a
from
the
sort
preme
su-
to the rather
life ; it is an
the
periment
ex-
prepared
award
of well
famous
hands
METHOD
and
by
of
drama
good
in
wanting
means
no
:
the
which
prime requisite
central,dynamic
all that goes before
without
good qualities,
fails in this
nevertheless
which
STRUCTURE
AND
follows after,
and
play,after all,has
the
minating
illu-
scene
right
no
to existence.
With
the
exemplars,there
are
to minimize
watched
laying of
writing. It
an
may
principleare
of
or
Parker's
But
may
this
in
to
carefully
be
this violation
the
Bennett
of
the issue.
delightfulfor
])ear In mind
spiteof
the
other
is that
giving up
123
of the
a
in the
and
Georgian picture,Pomanderonly confuses
stances
in-
some
dinal
car-
to blind the
as
danger; as
Messrs.
it is
of dramatic
that in
charming
so
obligatory
against;since
be confessed
of
nett
Ben-
tendency
Pigeon by Galsworthy,or
The
prove
thing
by
distinct
at the roots
axe
perhaps to
Milestones
a
should
which
the results
onlooker
is
remonstrated
and
and
eliminate this
to
even
effort
an
scene;
the
or
psychologic
Galsworthy, Barker
of which
school
of the modern
coming
lauch,
KnobLouis
Walk.
Such
reasons;
they
case
are
drama
the
such
peculiar,
quin-
HOW
TO
tessential merit
Their
virtues
spite of
because
of
so
A
drama
in its full
it.
far
awaits them,
as
success
They
of
the two
granted that
be
may
particularappeal
it may
which
experienceat
thingsin
the modern
be
but
we
of what
all.
There
fast
central
to
of
is drama,
play in the
albeit
ever
historyof
bears
France
out
can
are
; which
a
and
not
play
naught
amiss
without
described
enjoyableentertainment.
so
drama
in its failures and
the statement.
be
And
studied most
124
to
its
is not
definition of that form
exact
more
intelligent
hension
compre-
justthat
that
hereinbefore
scene
coming
the discrimination.
make
the idea
the very
drama
will find it
else,the theater-goer
hold
ceived
per-
readily
is dramatic
theater than
for the purposes
But
derstood
plainlyun-
spent, without
into the
is well, if
this is
be,
pleasantand profitable
evening
a
at the theater
should
accomplishmentsare
separate. For
as
not
principle,
a
be, and
can
heartilyenjoyed,so long as
and
sense.
virtues, and
the violation
of
PLAY
non-dramatic
are
they succeed, in
in
SEE
a
of art,
The
successes
of all nations,
with
profitably
HOW
TO
Folio of 1621.
SEE
A
Hamlet,
for
printed,givesthe
first two
is innocent
of any
act
Juliet has
no
PLAY
instance,as there
acts, and
thereafter
division;and Romeo
division at all.
such
and
with
But
later editors,the classic tradition became
and
more
convention
a
the modernized
and
the student
in hand
text
has
An
suspect the originalfacts.
work
like
study
scenes,
too,
period,for
no
scenes
might
remained
that there
for
we
a
can
be
the Drama
endeavors
that
in the
bethan
Eliza-
there
sense
;
as
was
many
were
sirable
de-
performance.
technic
to
nothing irrevocable
was
to
tion.
assump-
imagined as
modern
to
reason
that
reason
continuous
fivefold division of
at
many
the modern
therefore
during the
has
the
shiftingin
scene
were
on
with
old-fashioned
final and
as
construction
dramatic
The
no
Freitag'sTechnique of
this form
assumes
more
acts; and
It
discover
about
that, in the
this
tempt
at-
of play structure,
generalsimplification
do better
to three
or
four.
to four
or
three
by
a
reduction
Hence, five
;
so
that
126
acts have
to-daythe
of them
shrunk
form
pre-
METHOD
AND
STRUCTURE
ferred
by
the best dramatic
Ibsen
for
leadership,is
the
though
of
nature
four
desirable.
best
plays within
A
careful
decade
a
art
middle
to
seem
foolish to
further
be that
its
have
beginning,
a
simple but
which
marks
it would
that the
of
the
Greeks
the whole
day
be
mate
ulti-
pedantic
the
three,
complete
individ-
Shakespeare.
evolution
"
simplification
may
embrace
and
found
pro-
the
drama, thus returning to the "scene
able"
his
acts succeed
two
act
recognitionthat
tragedy of
; yet
stilland
still,
one
show
to
serve
tendency.
the
on
deny
proceedfurther
or,
of the
Aristotle's
technic of drama
and
examination
end
observation
might
makes
should
"
play,
story often
structm-e
and
three-act
will
play,with
three-act
every
the
the
that this is definitely
the
The
artists,
looking to
of form
tainly,
Cer-
pointsthat
way.
But, whatever
play as
a
whole
the
final
Mill present certain constructive
problems; problems
aim
ever
to
the
simplification,
secure,
most
which
economicallyand
the desired dramatic
127
confront
the
fectivel
ef-
result. Tlie first
HOW
of
these
which
TO
is the
we
PLAY
A
problem
of
the
examine
now
may
SEE
in
opening
act,
particular.
II
first act has
The
that
belong
is
to leave the audience
curtain with
knowing
having
which
at the
upon
too
not
omitted
all that
much
settingforth
tle,
lit-
if too
is not
so
time
link may
has
the events
story'sstart
on
curtain, not
enough
the
clearlybeen
follows.
tecedent
an-
made
throw
On
been
pleas-
If the
for its continuance.
some
revealed,
fails to get the idea around
conditions have
hand, if
and
conditions
sags;
story revolves,and
urably anxious
manifest,
; not
more,
has been
projectedforward
audience
the
it is about
the story at its beginningpossible.
the interest
which
fall of the first
the antecedent
well in mind
If, at the act's end, too much
the
the story
open
much, wishingto know
too
made
to
so
clear idea of what
a
Broadly
itself alone.
to
speaking,its business
as
ties
difficul-
and
definite aim
a
fusion
con-
the other
expended
that lead up
to
in
the
stage, with the rise of the
time
128
may
be left,within
METHOD
AND
STRUCTURE
limits,to hold the attention and
act
it may
so
sustain
the next
upon
Thus
the entr'act break
that
seen
considerable
a
and
fasten
act.
it will be
act is
fix interest
successful
a
ing
open-
test of the dramatist's
skill.
Another
The
act
complicatesthe
playwright has
from
which
from
drawback
half to
at his
disposalin
of
three-quarters
to effect his purpose.
five to ten
But
of this
minutes
allotment, at the best very
to the detestable
the
the
audience
not
riveted upon
a
matter
of
word
been
music; for
taken
some
so
time
tion,
conven-
when
fairlyseated
they
time
have
fore
there-
or
129
isted
ex-
country, the
the curtain's rise,
and
where
As
movement.
occurs
an
peoplehave
art
not
;
has
the drama
seriouslyas
now
der
Un-
never
never
fact,this practically
in America,
particularly
never
precioustime
short, because, according
placeat
alert to catch every
in
lose
he must
the stage action.
in all respectsin any
will be in
hour
an
general attention
ideal conditions,and
audience
the first
Anglo-Saxon
is not
play begins,and
matter.
as
been
TO
HOW
allowed, in
art, to
SEE
hall devoted
a
A
PLAY
to
that
stragglein during the performance of
the
composition,or
hearers who
have
come
properly,as part
so.
But
of their
in the theater,
do
all know,
the
admitting
late
we
of
play,the players,and
audience
already in
of
At
It
their seats.
as
the
be
may
theater
our
civilized this survival of the
graduallybecomes
manners
portionof
the
that
hoped, parenthetically,
of
minutes
is thus offered
performance a steadyinsult
to the
regard it,
breeding to
that for the first few
so
comers,
as
obtains
custom
enlightened
more
time, and
on
very
barbarous
a
of a singer,
self-exploitation
thereby disturbingthe
the
gentlesister
bushmen
may
toric.
purely his-
become
wright
playpresent,however, the practical
accepts the existingconditions,as perforce
he must,
And
so
and
writes his
the first few
minutes
be
drama, it may
devoted
amusing
to
some
a
of
structed
well-con-
a
noticed, are
rule, minor
ally
gener-
or
incident, interesting
external
in itself,
jDreferably
catch the eye, but not
as
play accordingly.
too
vital,and
characters, without
ISO
so
as
to
involving,
revealing
METHOD
AND
STRUCTURE
anythingreallycrucial
presentedthus
in the action.
is not
action that leads up
as
and
its lack of
in too
to it.
This
of the main
a
important;
be
not
of
preparationfor
character
regard to
time, and
has
oped,
devel-
been
marshalingof
to which
conditions:
the entrance
characters.
or
the
implied
lest attention be drawn
way,
skill is needed, and
in
is
to what
ter
mat-
important
part of the play marks
yet is by way
Much
much
so
importance must
barefaced
The
the precedent
the word
exposition
*
"SI
has been
^
by
common
to-day
is
given. Exposition
consent
by
no
what
means
indeed, it has
Shakespeare's;
and
nic
improved
this
prefatory
frankly
more
prologue; or
least the
and
at
once
and
to the audience
confidante, often
solely,for
was
in the
figureslike
the
used,
at
of minor
servant
employed mainly,
131
a
conveyed directly
means
for modern
of
shape
not
by
that purpose.
obvious
fined
greatlyre-
introduced
was
prologue was
information
in
was
In the earlier tech-
material
openly
if the
characters, stock
too
upon.
been
it
This
made
taste, and
or
or
even
vice
the desuch
as
HOW
to
TO
SEE
A
PLAY
injurethe illusion;the play lost its effect of
a pieceof life,
presentingtruthfully
justwhen
it
important
particularly
was
that is,at the
of the subtler methods
technic
of
closer to
and
strove
so
which
aims
of
presentation
real
a
culminatingin
Ibsen, which
an
should
obtrude
not
coming
the deft
to draw
life on
methods
find
to
such;
seem
with the
For
beginning.
to
the stage,
of
artifice
depiction
except when
unavoidable, the stage artist has learned
or
a
And
the result is that
of
Ibsen, a Shaw,
Jones
save
an
is
so
by
managed
the
and
profitfrom
study of
for
this respect; observing,
Gahler
early one
how
than
obvious
in this respect when
position
ex-
Pinero
be detected
pleasure
growth
example, how
in
a
in
a
in
much
late work
comparatively
of Society;and, again,
like Pillars
bald and
derive
Ibsen's
deftlyexpositionis hidden
like Hedda
dience.
au-
expert in stage mechanics.
intelligent
play-goerwill
more
a
hardly to
as
The
a
to-day the
Wilde,
a
with
the
the stage before
on
terweave
to in-
circumstances
these antecedent
the story shown
ever
was
he
this master's technic
began
132
in the middle
of
HOW
TO
SEE
A
PLAY
changing a kiss,for which, of
in the stage
justification
no
by
the author.
Closelyassociated
to
suggest
a
has been
A
theme
ler's
The
main
not
of the drama.
example
through
be found
Within
City
in Veil-
the
Law.
of this melodrama
that it possesses
is
of
some
skillful theater
qualitiesof
one
this in mind.
to with
may
extraordinary
vogue
proof
carried
Fitch's The
popular melodrama,
sufficient
far
fore
full of interest and there-
alreadyreferred
recent
more
know
of act
treatment
a
welcome, which is then
the remainder
Shaw
know
cated
indi-
as
with this mistake, and
disastrous,is such
more
business
was
little interest in stage kisses.
that he has very
as
All who
there
course,
the
craft:
a
fable, vital characterization,
strong, interesting
and
and
considerable
feeling for stage
hand
climax, with the forthright
situation
of
fails
Nevertheless, it distinctly
the
of the curtain, the audience
interested
be asked
it in favor
to
keep
the first act, w^here,at the fall
promise of
only to
tion.
execu-
of
in
a
in the
a
has
become
sociological
problem,
succeedingacts
conventional
134
ticularly
par-
get
to for-
treatment
of
METHOD
material, with
melodramatic
stock
STRUCTURE
AND
usual
the
thieves,detectives pitted against each
for the central
and
gunplay
and
capture. That
City and
Within
such
uncritical nature
American
of
in most
short of the caliber
With
avoid
go
the
these
drama
has
guesswork
necessary
for
a
half in
temperature.
He
but
tantalizingly
not
to
to leave too
curiosity
stillspend
bad
theme
he has before him
his
as
air and
has awakened
a
ready
to
ahead, without
lessen the
must
placeof
directed it upon
Now
who
one
a
and
is
as
give it a pleasurable
to
knowledge
little for
handled
aroused
sufficiently
of entertainment
much
falling
masterpieces.
dramatist
the
pitfalls,
impartingso
be very
may
of
demand
we
the interest of his audience
and
audiences; but
opening act, then, so
sense
unusual
an
respects while
with his task. He
on
The
these defects, suggests the
quiteas trulyimpliesthat
good, indeed,
get
can
surprise
plays as
current
the Law
hearing,in spiteof
of
scene
other,
and
too
hour
an
heated
attention
and
story,yet left
it
confusinglyincomplete.
the
play and making
135
problem
it center
of unfolding
in the climac-
HOW
tic scene
must
which
TO
will make
observe, then, how
in that part of the
the introduction
of
a
SEE
three-act
act form
and
drama
A
or
he
PLAY
mar
the
piece. We
developshis story
play intermediate
the
or
be chosen.
J^Q
between
crisis;the second
act
the third if the four-
CHAPTER
VIII
DEVELOPMENT
story being-properly started, it be-
rpiHE
-"'
so
the dramatist's
comes
advance
to
and
with
the hold
of
those
shown
on
be
the audience
be
done
elements
the
inferred
matters
of
without
action
is
must
be
it is revealed
furthers
tighten
the
selection
a
fitly
loss of interest
the
and
of
essence
be shunned
material,
that deals
the
to
be
can
ear.
And
economicallyhandled,
the-j:evelation at the
1^7
be
rences.
ofF-stageoccur-
of
story^ushing
This
can
which, being vital
the eye
saw,
plot reaches
story which
naturallydramatic
must
the
sternest
clearlyfrom
directlyto
acter
the
by
stage, or
drama, all narrative
and
as
to
as
point, the obligatoryscene.
Since
with
we
develop naturally
increase of interest
upon
only
can
it that it will
such
its crucial
business,as
so
same
it forward
play
sented
pre-
char^
that
as
time
instead
HOW
of
TO
holding it
do both
:
PLAY
should
Dialogue
thingsand
developplot in
it exhibits
A
static while the character
unfolded.
of these two
SEE
ing
is be-
always do
one
the best
dialoguewill
the very
moment
that
the^unfoldingpsychology^T^-fche"
The
dramatisj^^j:scme"'.
fact that in the best
modern
the sake of character
"
rather
plotis for
work
than
the
does
reverse
principle;it simply
Character
but
without
not
violate this
redistributes
emphasis.
possiblybe
plotmay
in the hands
of
the result is
extremely likelyto
and inconclusive.
a
Galsworthy
tive
attrac-
Barker;
or
be tame
out
And, contrariwise,plotwith-
character,that is,with character that lacks
and
individuality
a
peg
which
upon
results in
of
and
most
This
between
a
ings,
happen-
titute
that,being des-
short of
the finest
of the stage.
possibilities
serious
portionof
the
introduction
play,then, intermediate
and
climax, is very
tries the dramatist's
three-act
offers
merely
series of
primitivedrama
quiteas trulyas
a
hang
to
psychology,falls
and
In
and
meaning
do
soul,in
beginning and
play^
"
which
138
we
may
a
portant
imway,
end.
assume
as
DEVELOPMENT
normal, without
the best
to
necessarj^
forgettingthat
that five acts
telHng of
certain circumstances,
de
and
Bergerac
work
Shaw's
development falls
of
in the main.
The
story, and
the
under
in Rostand's
as
Cyrano
Pygmalion
the
"
the second
on
of action is
climax
often
are
convenient
stillfound
are
four
act,
likelyto
be at the end of the act, although plays can
mentioned,
has
well
on
good
ones,
seen
fit to
place his
into act three.
wisely to
avoid
Charybdis.
effect
an
act
If, on
of
the
rocks
If his climax
anti-climax
long
too
the other
at the end
when
of the
result is admirable
and
savingthe
be
too
street, dazed
of
Scylla and
his
too
come
likelyto
the main
course
an
soon,
be made,
stress
is
in
over.
pieceor
in
close to
it,while
sustaininginterest
best for the last,the close is
abrupt
of art;
his
fect
hand, he put his strongest ef-
the
to
is
he is between
steer
must
wright
play-
cinicial scene
this matter
In
dangers and
two
the
where
and
be
and
unfinished
sending the
after
audience
the shock
scene.
139
for
out
of the
apt
the purposes
into the
obligatory
HOW
TO
SEE
A
PLAY
Therefore, the skillful playwright inclines
to leave sufficient of
to make
tie up
of
loose ends
completing
tedium
secure
the
escapes
in the
seen
and
thus
concludingpart of
that this makes
in
problem
preserves
impressionof
an
without
structure
He
his
loose texture
play.
the final act
itself,a fact
fable,
artistic effect
an
whole
anti-climax.
or
unity,yet
be
of the
agreeablerounding out
an
the climax
play after
the
a
It may
very
cial
spe-
shall consider
we
in the later treatment.
And
with the second-act
now,
portionof
the
play in mind, standing for growth, increased
tension, and
an
of the
the
ever-greater interest,a peculiarity
differentiates it from
play which
can
fiction-story
mentioned.
be
to the nature
of the interest and
of the auditor
toward
In fiction,
interest
due
the
to
the
reader,
events, has
a
on,
under
the
the attitude
the story.
depends largelyupon
uncertaintyof
of
unaware
pleasingsense
stimulatingdesire
It refers
to know
prickof
of
the
ings;
happenof
outcome
and
curiosity
the end.
this desire.
140
the
pense
sus-
He
The
a
reads
novel-
HOW
SEE
TO
novel exists is a nice
thought
it is true, successful
the
dramas
sound
of
are
makes
plot,and always will; if
the
suddenness
the part of the audience
fooled
be
make
unpleasant:an
in the
other reason,
no
of
showing
events
the
of
that
in
a
those
hoodwink
perhaps because
compression of
necessary
on
for
also
and
principle
the audience
to
impracticable
in the auditorium
would
of the
use
the direct stage method
it
thief,is
Nevertheless, such
knowing cooperationof
story makes
all of
exception. Broadly speaking,
the
dramaturgy
because
example; a
is the real
crime.
the
theater
spectator suspecting
wife, who
implicatedin
written
first act, if not
of the whole
the young
sionally,
Occa-
pieceof
Thief,is an
The
it,takes placewithout
that
has
principle.That
effective
eminentlyskillful and
large part
doubt.
plays are
in apparent violation of this
work, Bernstein's
swered;
easilyan-
so
exist, nobody who
subjectcan
the
upon
PLAY
questionnot
it does
that
A
a
the
play
discovery
they had
it
unpleasantness,
been
may
surmised, intensified by the additional fact
that the
foolinghas
been
142
done
in the presence
DEVELOPMENT
others
of
their
"
quicknessof
the effects
doubt
no
novelist
characters
the dramatist
tell for
this
Be
rule, by
in
roots
a
secret and
sort
creatures
shown
only sees,
but
The
in all
of
the
which
an
not
as
less-knowing
play in
story telling.
characters
this may
in the theater it is disastrous.
disturbed in its su])erior
sense
143
of this
outcome
of
not
deceive his audience
manipulationof
Pleasurable
pointwatch
also set the
the other ways
the
come
he
footlights:
As
a
probability
invites
necessity,
group
oversees.
playwrightshould
either in the
story, as
this vantage
a
make
eavesdropper,to
behind
trait,results follow
with
of
from
perturbationsof
contrast
which
a
and
;
for all.
the theater
instinct and
a
the
of circumstance
and
once
tradition
listener to be
The
upon
forthrighton
go
it may,
as
a
an
must
result.
readjustmentto changed
surprisingturns
or
his strokes
in the
tion
repeti-
use
explain,dwell
return,
can
the stage
possibleto
also enter
of the reader's
causes
the
theater-goers.The
of the playwright to
inabilitj^
and
into
fellow
or
currences.
oc-
be in fiction,
The
dience,
au-
of knowl-
HOW
SEE
TO
as
edge,sitting
it
like the
were
is
suppositions,
This
is
baffled
of several
one
of character
presumptive villain
all the virtues
reader.
blossom
subtilizing
stage
ter
charac-
to be
shown
stark black
necessary
to
use
Here
of art in
therefrom.
stage characters
fleetingly
of their whole
be
lives,
in
seen
high
clearlygrasped by
that in actual
none
primary colors,for
in order
again we
that
encounter
the
life folk
rather
gray
white, it is
and
part,in paintingthem,
be realized.
so
indeterminate
an
Mutual
of the
Conceding
general are
of
paragon
added
stage fashion, must
onlookers.
the
or
zest
Persons
relief,if they are
a
does in Our
selected moments
the
villain
a
into
to the
risk in
The
few
than
in the delineation
why,
out
turn
case,
lies just here.
in
irritated.
the stage, it is of very
Dickens
: as
Friend; in that
after
and
reconstruct
then
and
reasons
on
seeming hero
the
a
gods apart
ing
to spring a surprise
desirability
; mak-
dubious
in
PLAY
suddenly,peremptorily,to
asked
its
A
the less
the
most
they may
tations
the limi-
depictinglife,and
its difference
certain
therefore,
In
must
a
be
144
more
sense,
more
primitive,
DEVELOP
elemental,
as
well
as
in novels, a
to
later
^lE
elementarj^than
the characters
shall have
thought we
another
that
good
technic forbids
hint
or
angle,
on.
Equall}^is
it true
the false lead: any
has the appearance
to
of
suggestionwhich
conducting on
later in the
come
to
Every
its immediate
word
dramatist
on
some
person
illuminate
with
far
meaning
These
the enemies
to
plicatio
im-
temptation
character
play,which, while
it may
involve
such, may
as
that will
mislead
entirely
the
author
in the action shown
false leads
of
(a
itself)to do brush work
supposing that
into
more
in
the character
audience
intended.
feelingfor
a
of his
episodictreatment
more
or
is thus, besides
spoken
It is a continual
admirable
giftmost
shall
a
significance,
preparationfor
something ahead.
a
thing
some-
play, which
verifyand fortifythe previousallusion
to
sion
occa-
to, from
back
come
NT
are
unity and
of
to
than
course
be
an
has
he
ways
al-
all the
carefullyguarded againstin proportion
their attraction.
this lure into
So
attractive,indeed, is
by-paths away
145
from
the main
HOW
how
see
often
in love with
incidents
invent
of
the
part
is to be
drama
it,a
more
seen
in the
intended
The
act
one.
of
character
where
of
plot; or
given
hands.
in
may
Or,
and
is lost
play
be
welcome
a
detail.
in this intermediate
in the very
a
farcical in the
on
the
in the
tragicin
comedy
into
conditions
dramatist's
is
course
a
comedy
of the
conclusion.
begins for tragedy,with
impliedseriousness
of interest in character
of life,may
philosoj)hy
under
resolve itself,
146
one
in the interest
yet, that which
worse
type of
deflected
sightof
serious
turn
what
enjoyment
start out to be
feelingand drift,may
more,
the
or
first,
promised in
clearly
then
development become
once
forgivesepisodic
of
change
play may
a
rather
lure
insidious,all-pervasive
at
character
And,
such; willingto let the
developinghis story
of
it.
over-emphasisin
suffer for the sake
In
tangential
unnecessary
audience
character, as
drama
playwrightsfall
exhibit
to
an
discouragingly,
and
fairlyastonishing
character,disproportionate^
in order
treatment
PLAY
A
veteran
even
some
it, and
handle
SEE
that it is
of progress
path
to
TO
Or,
its
and
the
DEVELOPMENT
fascination
in
depth and artistry.
stillother
All these and
suffers
in the sin committed
type
genre
or
of
a
the
of
play
staffe
offers
departurein
to it. The
is the main
a
ing
be-
to
external
completing the story,which
involves
play,has
the Gordian
melancholy prince
the
the
an
not
emphasis
thing,the pivot of interest,up
elimination
of kind,
be
the acts that lead up
of the
character
the
in the
of
fifth
many
so
somewhat
act
of
the
persons
the effect of
a
of
change
abrupt and incongruous cuttingof
Doubtless, the facts
knot.
compositenature
total
In
from
there
the
the final act from
point;but
of
questionedif
psychologyin
placedupon
the
history
illustrations.
many
be
it may
Hamlet,
method
The
handling.
greatest in the tongue, Shakespeare's
the
that
the real
whenever
eveiythingconsidered,
far,
not
permutationsa play
drama, impliedat the start,
is violated in the later
a
emphasis
its correlative loss
and
sensation
external
its undue
with
ism, into melodrama,
upon
of histrionic efFectiv-
plot and
of
historymay
of this
have much
147
play viewed
as
to
in its
to do with such
an
HOW
TO
effect,if it be
dramatic
set down
in the
climax:
long
the
over
new
the
during
the
playsare
to
realize the
to be noted.
to the
which
actual
He
Probably the
make
the
fails sometimes
call
I may
is gainedby
what
and
crown
a
good discussion
M.
Hamlet," by Charlton
Company).
a
is to
come
;
this,see
appetizing
Lewis
148
It is
"The
to
series of
through a
pending.
of
ond
sec-
slower approach
engagement, all of it preparatory
is
perienced
ex-
re\"er-
withdrawals, reconnaitres before
strugglethat
For
it in his eagerness
the first,
though both
great moment
suggestionsof
the
linger too
not
is the
in what
increase
beratorypower
hints and
must
likelyto
rather than
mistake
fall
and
introduction
of all his labors.
is
handlingof
the
which
scene
any
art.
yet shorten
craftsman
often
of true
playwright
it,nor
culmination
*
week
section between
to reach
real
aright.* In
York
requirementin
other
One
play
PLAY
which, bj^this minghng of genres,
short of the symmetry
deft
here
in New
season
seen
are
A
it is certain that every
case,
be
SEE
the
to the
law
of
Genesis
of
a
(Houghton,
Mifflin "
HOW
of
value
TO
has
SEE
been
If the
Scandal
be studied with
as
drama
to
a
climax
so
preceding
ScJiool
an
objectlesson
of skilled
leading
littlesteps of
many
for
in mind,
principle
good
show
can
by
this
as
of
in The
scene
will have
English
up
screen
PLAY
out
wrung
events.
the student
A
fully
care-
calculated effect that the final fall of the
remains
screen
one
of the
great
theater, despitethe mundane
nature
theme
to
and
the limited
of
qualities
(and
judged by
Sheridan's
human
theater
art,
in this
master-stroke
well
as
that
the
deeper
its limitations
other, is
any
the
of
to be
acceptedconditions)
placeand play is a
of
manent
per-
brilliant technic, as
explanationof
the
of
persistence
delightfuleighteenthcentury comedy.
But
err
one
Within
as
under
success
work
appeal
nature.
in the
moments
in
the dramatist, as
delayingso long
growth, that
I have
in his
said,may
also
preparationand
the audience, being ready for the
climax
before
it arrives,will be cold
comes,
and
the effect wall
so
safe to say that in
first act has consumed
a
three-act
hang
when
it
fire. It is
play,where
the
to fortyminthirtj^-five
150
DEVELOPMENT
is to
utes, and the climax
above
do not last much
will
first act, for
apt
to be
act is the
and
forty
fifty^minutes,
for
act
for
a
which, with
two;
drama
to
the
play about
to
an
modern
under
This time allowance, with the added
minutes
for
a
givento
In
the entr'acts thrown
play which began
curtain at about
case
three-act
be
would
thirty-five,
even
minutes, which is close
time
the last
shortest,other thingsbeing equal. If
allot to the entire
ten
phenomena.
the three, as
given
twenty;;fi^fi-4"i"ttt"S
would
but
is
explained,
alread}^
reasons
or
forty-five,
shapely
the statement;
the observed
the first act, therefore, run
to
mands
the de-
story and
modify
longest of
the
act
time.
lengthof
same
of the
appliesbroadly to
The
the
the nature
course,
it makes
it
fall of the
curtain, it is well if the intermediate
second
Of
at the
occur
at 8:15,
twenty^to
final act,
hours
two
ideal
ing
play-
conditions.
fraction of
in,would,
drop
the final
10 :30.
the climax, as
has been assumed
play,be placed at
act, the third act will
Should, however, the
the end
of the
be
obviousl}^
of
a
ond
sec-
shorter.
growth be projectedinto
151
HOW
TO
SEE
the third act, and
us
say
act
then
"
in
is that, with
hard
if the best
With
later
handling
is
is stillup
the
ciple
prin-
human
psychologyof
for the purpose
it is
interest over,
the sleeve
from
piece,the
demands.
toward
The
we
may
game.
earlier to
an
technic
of the
these
changed only accordingto
commonsense
the
lengthened and
auditor's attention; whereas
the shift of climax
place in
A
of
knowledge
the
beingsbrought together
will go
of entertainment
far
whether
settlingthe question. And
playwrightplace his culminatingeffect
act two
or
three, or whether
reasons
acts become
of
four
for
good
and
in
cient
suffi-
story complicationthe three
even
set
five,the principles
pages
apply with only such
or
forth in the above
modifications
a
the middle, let
to prolong the
willingness
assume
a,
card
is
at
sprung
proportion.
the main
the
hold
to
be
beyond
"
the final act
shortened
two
PLAY
the cHmax
this act
point within
A
as
made
are
by
necessary
the
change.
The
theater-goer,
seekingto
opinion upon
a
drama
152
as
pass
a
an
gent
intelli-
whole, will
DEVELOPMENT
during this period of growth
that he
keep
ask of the
the auditor's interest and
it symmetricallj'
; that he show
increase
wright
play-
the
plot
unfolding in action,instead
of
it; that he do
eagerly expected
not
too
conflagration
and
that he make
the
other and
and
more
to the
delay it too long;
nor
soon,
of the characters
meaning
each
reach
more
these, he
plot.
against the
while the
has
a
dramatist.
majorityof
not
with self-conscious
are
under
dissatisfied,
bored,
even
as
without
or
any
or
legitimatecomplaint
be it noted
theater audience
know
analysis
that
may
why they
these conditions,the dissatisfact
is there,justthe same,
they become
to
If the spectator be
or
And
a
apparent the
in their relations
confused, baffled,irritated
all of
talkingabout
and
critics,
though they know
]M. Jourdain
talked prose
being aware
of it.
153
thus do
it not,
all his
days
CHAPTER
IX
CLIMAX
the
T^TITH
'
act
'
forward
that
and
one,
the
or
acts, the
in the following
playwright approaches
part of his play which will,more
than
else,settle the fate of his work.
have
not
seem
noted, if he have
have
play
play
proof
at all.
will be
books
The
moment
solved, and
with
not
has
come
skillful
dynamic quality,
best.
at
literaryperson,
a
ducing
pro-
reading,lies just here.
point where
has
gone
that solution,he must
one
it fail to
when, with his complication
the
all that
he will
scene,
arrival
we
genuine playwright by
a
closet
to
on
to be of
for
brought
upon
If
thing
any-
As
broken-winged,
that he is
rightfulcallingand
such
no
indispensableand
the
The
a
in
carried
development
that firm foundation
upon
act
play properly introduced
before
produce
right-arm stroke
154
it must
be
waiting
an
which
effect
shall
CLIMAX
spectatorsa unit in the feelingthat
the
make
evening has
the
well
been
spent and his drama
is true to the best tradition of the stage.
stress has
The
at which
to
be relieved.
strain is at
breaking point.
the
or
it must
increased
steadily
of circumstances
is such
that
clash of characters
The
operatingupon
crisis is at hand.
a
of word,
interplay
an
crescendo
emotional
picture,
by
or
technic
some
of human
persome
thraldom
of
pleasures
the
number
and
This
in stage
life,made
be
a
finer
unforeseen
an
dent
acci-
electric change is
an
heat and
of the dramatis
the consequent
Of
has made
is not
thing to
do.
155
that
say
in
concrete
appealsto
scene,
the
the theater most
to
a
a
en-
all the varied
this moment,
playhouse,
revelation of character,or
on
by
psychology (known
of story,is that which
turn
scene,
of incident
the audience.
of
genious
in-
unexpectedreversion
the emotions
at white
some
By
in a stage
crystallizing
in the fall of events,
exhibited,with
characters
action and
peripety)or by
as
The
degree
a
a
est
larg-
tinctive.
dis-
profound
pungent reflection
situation,may
It is
merely to
not
recog-
HOW
nize
TO
certain
a
SEE
A
PLAY
unique thing the stage
in story telhng,as
againstother forms,
confess its universal attraction.
much
in latter
deaden
clear
the
day play-making that
thrill of
in
school
of
without
The
none
that his curtains
aim
to
appear
in French
world.
central and
what
not
climax
so
much
may
be
poorer
play
temporary
pretend to
even
of
as
atrics.
cheap thethere is
againstthe
and it is true
sense;
much
so
the
at
traditional of
hands,
"
But
the most
it remains
scene
of dramatic
said
was
a
less obviously
stressed and
are
dominant
structure
A
Ibsen, and
the French
heightened effects
in the
of
to
seems
importance
a
mode
outworn
influence
in
faire,
a
it, and
potent, has been cited
more
scene
an
to
there is
the drama.
psychologuesmay
pooh-pooh it as
and
obligatoryscene,
its central
appreciationof
succeed
may
very
the
comprehension of
is basal
While
do
can
the
palpably
ment
develop-
skillful hands
true
that this
is inherent
in the
writing.To repeat
before, the play that abandons
good entertainment, but
drama.
dramaturgy
The
of
our
156
best and
most
day therefore
is
by
cessful
suc-
will
HOW
TO
might
remain
of the
sure
otherwise
tests of
here; if it is
will not
a
and
not
not
a
PLAY
muddle.
a
workable
readilyreduce
play
A
to
that is
play
undramatic
hopelessly
into
up
of
matter
reduction
a sine
structurally
A
a
to
or
an
action,and
a
I.
A
man,
by
stated
be
of the
statement
which
a
ambitious
158
of
sive
succes-
the
(or situation),
instance,the proposition
be
expressed as
to be
his wife, gainsthe
murder.
fully,
care-
issues from
condition
may
is
essence
that each
and
This
be illustrated.
may
result. For
of Macbeth
can
define it a littlemore
part depends upon
It contains
acts, and
of the dramas
skeleton
play,so organicallyrelated
other.
ing
writ-
paragraph.
a
non
qua
to
proposition,
is a threefold
brief
a
in substance,
scenes
Bengalese Taghore),
and simplyin
clearly
else
ther,
all. Fur-
pieceof
expressedin dialogue(likesome
the
be found
propositionor
a
real
a
one
drama, either it
at
propositionally
cut
arbitrarily
of
And
good play may
a
a
be stated
cannot
SEE
lows:
fol-
king, abetted
throne through
CLIMAX
II.
will
What
III.
both.
visits them
Remorse
effect
the
be
the
upon
pair?
this schematic
Reflection upon
that the interest of
show
is not the chief
thing,but
degenerationof
moral
working
each
upon
nobler
and
the
prickof
the
have
take
I.
well-known
a
A
man
young
His
up,
III.
What
It w^ill be
of
father
for
of
of
example
sense.
play,Camille:
modern
and
loves
makes
lives with
a
pleadswith
his
own
her to
givehim
sake.
will she do?
observed
the camellias
revelation
the true
the
of the demi-monde.
member
II.
This
fine
a
trasted
con-
gret
experiencere-
conscience.
tragedy in
psychologic
Or
to
the
of
much
too
not
called Macbeth
drama
their
according to
in them
elements
tial
essen-
wife, sin
and
husband
Both
natures.
The
character.
painful spectacleof
lies in the
crux
Shakespeare'sgreat
primarilya story interest;plot
is not
drama
will
summary
her
that the way
character;
159
lady
question is
the
answers
the
so
that
the
the
play
HOW
TO
SEE
A
PLAY
again,althoughits story interest
fils with
Dumas
rich
a
later taste
a
School
The
atmosphere of
with
and
sympathy
to
study, surrounded
character
primarily a
is sufficient,
is
becomes
by
standing
under-
sentiment
that
sentimentality.
for Scandal
be stated in
might
this way:
I.
old husband
An
brings his
well-meaningwife
II.
Her
innocent
but
gay
to town.
love of fun
involves her
in scandal.
III.
Will
Ibsen's
A
in
I.
II.
A
a
the two
be reconciled,and
Doll's
House
wife
young
her husband.
has
that she is not
wife
She
home
meant
or
pressed
ex-
what
: a
examples
been
babified
by
her eyes to the fact
educated
to be either
mother.
leaves
see
These
thus
:
proposition
Experiences open
III.
be
may
how?
her
a
husband
should
woman
human
will
until he
be in the
being,not
serve
by propositionand
the central purpose
160
to
a
show
indicate
can
doll.
what
more
of the dramatic
is
nitely
defiau-
CLIMAX
the technical demand
thor and
of
that
assured
Be
under
made
whatever
attraction in incident,scene
this
underlying
abides,and
thus
to
drama's
a
formula
a
structural
insecure, or,
at all:
there
elevation,a
As
which
is
structure
no
front
a
suggestion.
to
see
givesthe
that
French
unknotting of
that the
of
intensity
derived
alone
from
largelyeffective
upon
of
quality,
by
will notice
the climactic effect is not
action and
word; but that
in the total result is the
the stage,in front
settingwhich
the
ment
denoue-
word
(unknotting)its meaning, he
made
itself
that in the
put it,but
to
architect's
watches
and
the knot
necessity
spectator breathlesslyenjoys the
the
climax
character,
building is lop-sidedand
nothing,so
mere
garb
reduce
confession
a
that there
worse,
and
to
inability
is
the
sense
varied
architectural
stern
him.
upon
grouped
ture
pic-
of the background
in itself has
characters
pictorial
the
as
tain
cur-
falls.
called
This effect,
conventionally
is for the eye
brain,
"
as
well
as
better, the heart.
161
for the
It would
a
situation,
and
ear
be
an
the
un-
HOW
a
SEE
A
limitation to
fortunate
did not
we
TO
to the
comprehend
with
This
but
the
of
and
actors
the
is due
to
tures
pic-
in collaboration
stage manager.
is importantthroughout a play,
principle
gets its
vivid illustration in the climax;
most
being made
experimentsnow
here
abroad
and
form
the
frank
attempt
for the
Russia
have
tempts
at-
tive
imagina-
hitherto
and
tained.
ob-
by familiarity
the
bethans,
Elizathe
to substitute artistic suggestion
what
have
and
the
Craig symbolism,
expensivereproductionon
is called
this movement,
phases of
and
of
simplicity
Gordon
stupid and
stage of
manager
settingthan
unadorned
the
in the theater
of color
possibilities
reaction influenced
The
with
subtle
more
of the
in stage
point.
mentioned
be
may
to introduce
treatment
it at this
ing
novel, fruitful and interest-
the most
Among
and
if
large
artistic stage
hence, I enlargeupon
the
full how
the dramatist
by
culture
good play
a
ever-changingseries
furnished
theater
our
part of the effect of
the
PLAY
been
scene
"real life," are
in which
prominent.
deviser
162
are
Germany
The
stage
daily becom-
CLIMAX
ing
of
important factors
more
a
play; and
perceptionof
behind
the
such
the values
a
relative
dramatic
the
character,
is
unity of
emotion
and
persons
fact.
direct
a
The
"Gordon
may
seen
be
that
is
very
reaching in time,
dramatic
concentrated
so
fine
"
consulted
that the
in the
story,
empty
no
the
at
vention;
con-
geometry.
correspondencebetween
Hypocrites
Craig's
meaning.
logicand
on
in
book
for
on
one
The
further
Art
conditions.
163
of
reports that
as
of
that
The
light upon
upon
the
group
of the very
significantand
in its influence
a
climax
a
in
reveal
convention
the eye effect which
I have
Jones's
and
of the stage, is
in
visualize the
dominant
they are
it is based
There
shall
characters,should,
or
ment,
mo-
characters
dramatist's
main
the center
grouping
re-
aged
materiallydam-
scene
all,the time-honored
take
be
positionsas
picture the
when
and
scenic
a
place the
After
moment
grouping
climax, may
feeling of
of
terms
of
clearer
a
part of the plasticelements
failure to
a
production
this goes
footlights.*IMany
many
by
along with
the
on
in the
likely to
future
in
best
tre
Thea-
a
be
ment
move-
far-
stage and
HOW
TO
in the modern
a
stock
that the
at
logic of
the
two
in
delivered
his curtain
footlightson
its historic
a
result, a
a
dozen
matically
dra-
were
shunted
scene
the
leading man,
were
whose
deep background, de-
speech
close
the
to
up
in
spot mathematicallyexact
a
significance.True
tions
rela-
dramatic
curtain
calls,went
It
was
a
off with
the
of dramatic
the stage
an
eye
this aspect of the drama, he will add
justiceto
a
very
phase
criticism,often
of
of his
It
is
to
professional,
164
an
upon
much
pleasureand
important and
technic.
as
facts.
theater-goerwill keep
interest to the content
tive
compara-
demonstration
striking
importance of pictureon
externalization
as
half
naturallyreceives
which
scene
tameness.
If
who
sacrificed to relative salaries,and,
were
of the
belong
not
the
in the
positionwas
true
should
although
did
lovers
by
purely
leadingman
action he
the side, and
to
the
to
crucial moment,
young
central
off
a
ruined
nigh
when, owing
company,
there, the
PLAY
well
"
the center
in the
A
repertory
arbitrarydemand
have
SEE
of
do
looked
easilyover-
in
common
sneer
at
the
HOW
TO
SEE
A
PLAY
of its psycholog}^,
calls for the
nature
injuredby
Motion
unrelated, fussy,bodilyactivity.
an
in such
a
case
shiftingin
scene
and most
becomes
of
one
as
the
phantasmagoricof
foolish
pictureunless
to the
dreams.
our
at
of
the floor
as
a
table
alarming
his feet with
leapsto
a
The
change of
;
one
cates
communi-
and in conversational
other,quietly
fact
a
the
fact.
represents a psychologic
converse
men
tone,
it
as
highest colored
wise stage director will not call for
Two
is
static,
an
exclamation
he talks about
because
fitting,
nature.
The
other
and
paces
it;nothing is more
nothing is
truer
to
life.
The
styleof actingto-day,which might
repressive
try
to
this situation
express
work, goes
too far in
tools of the craft.
all the
me
from
its very
bodily reaction.
doing.
violent and
of technic,the stage
nature, indicate the
tions
emo-
concretebeings by objective,
of human
means
repeat that,despite
older, more
methods
crudelyexpressive
must,
facial
abandoning the legitimate
Let
refiningupon
purely by
To
The
Greek
exhibit
166
word
for drama
feelingis to
do
thing.
some-
CLIMAX
Or
let
which
is
knots
of
us
take
a
more
in
a
drawing
seen
is announced.
besides
effectingthe
and
eye
the
dialogueto
of
the
double
of
purpose
ing
pleas-
allowing certain portionsof
forward
come
more
occasion
in
less
or
The
and
get the
ear
the
eye.
climax
shows
side may
the law
by
call for
would
of
shift and
realitywould
of social
general greetingsof
it.
other
stage is,among
The
various
tells the
audience, also incidentally
change
to
that
shift in the groups,
A
truth: these groups
the
with
room,
;
people talkingtogetherjust before
dinner
the
compositegroup
a
an
word, then,
making
applicationof
The
such
things,a plastic
representatio
life,forever
how
In
venience.
con-
an
appeal
this to
the
vastlyimportant its pictorial
be.
climax
danger.
Lead
that is
up
prolonged
to it
the effect,and
of
dramatist
succumb
clingingto
here islike
curtain.
to the
what
a
always
in
cure
slowly and surely,se-
then get away
by lowering the
with it,or
is
fond
167
is
from
Do
not
it instantly
ble
fum-
insinuating
temptation
so
effective.
The
father loath to say
HOW
TO
SEE
his favorite
farewellto
parting-word
child.
he must,
if he
A
will be
second
be
every
extraneous
feats
of
forms
of
fine
speech,even
have
his
father
a
ment.
its detri-
to
the denouement,
found
weighed, nor
word
out, the
welcome
so
in other
instead
Colloquialism,
bad
dampen
to
And
instinctively
sought.
itself,backed
by
where
grammar
as
of
formal
the fire,
must
can
what
convey
at, silence is best of all;for then, if
silence is indeed
judgment, ready
to
golden.
show
accordingto
that
difficulty
dramatist
his
in
that
of
his
what
blocks
proportionas
piece,is that
so
be
the action
All
this the
in his
spectator will quietlynote, sitting
A
an
literary
more
whenever
the scenery,
every
wanting;
cut
ruthlessly
language
book-speechseems
ever,
the
literarycompositionshunned
arch enemy.
is aimed
say
much, and the whole thing
too
imperiled.At
must
syllable
would
him
this,keep the child with
ere
But
not, like many
and
offspringprosper
PLAY
A
168
pleasure,
dis-
pleasureor
is done.
the
path
itsremoval
graduatinghis
the climax
seat of
(thirdact
of
every
improves
earlier
or
tains
cur-
fourth,
CLIMAX
as
powering"
maj^) is obviouslythe outstanding,over-
it
effect of
the whole
of the first act will do
least
maintained
the
from
progressively
drama;
added
an
all who
look
second
act
of
first in that
the
and
Sad
in
the
listen. And
indeed
appeal and
opening
it has
emotional
tenser
a
with
believed
much
come
royalplace
usurp
! And
a
this skillful
risingscale
at, is
by
happen
use
led to overlook
the
in his art.
A
third
tremendous
sensation
earlier eff'ects
is to
the
power
good
he could
that of
fect
curtain ef-
scene
This may
that
the result if any
always aimed
secured.
of
the crisis of the
diff'erentiated from
of effects upon
while
at
the interest
below
yet it is distinctly
of the climactic
the
to possess
climax, if the obligatoryscene
later.
tain
cur-
crispnessperceptibleto
be
must
value, while
the
well
slightheighteningof
some
The
play.
no
of
interest,
always
means
because
tion
grada-
the dramatist,
material in his hands, has
it
prodigally,and
of
principle
act
by
climax
tivelylow-keyed and quiet. The
169
relative values
may
the device of
leading up
been
to
secure
a
keeping
it com])ara-
tempest
may
HOW
TO
SEE
PLAY
A
be, in the abstract,only one
in
tempest in effect it is,all the
Ibsen's
British
the
do
as
plays
school. Barker,
Hankin.
Houghton,
equallytrue
of
And
climax
by
material
introduced
earlier in the
climax
place to
is
and
we
play is doomed
play.
is also the
drama
of emotional
be made
of sensational
best
that the stage appeal
primarily emotional.
say that the
have
the
illustrate the fact
be not
scene
of
too much
is
reverse
may
ineffective
younger
McDonald,
the
paleand
The
justifythis
the
Baker,
reallyfine
: a
a
same.
illustrate and
often
plaj^s
statement,
teapot; but
a
this central
If
value, it is safe
;
to
will at the most
or
languishinglife in special
performances
a
be cherished
have
vibrant
should
seen,
by the elite. The
to the auditor
comes
in terms
be there, as
of
we
of the heart, whence,
all
another
must
saw,
as
George
be most
popular;yet
170
a
idea which
come
by
way
Meredith
Herein
and pitfall
of
privilege
teachingby
and
warm
feeling. The
great thoughts come.
because
Privilege,
stage story,
clares,
de-
lies
the dramatist.
emotion
ways
will al-
because
pitfall,
it
CLIMAX
sets up
emotions
which,
along
undesirable.
to
To
that
mean
for
the
aroused, sweep
once
say that the theater is a
emotions, is
it is well
displayand
emotions.
for
influence
audience; it should
so
blended
entertainment
for the
and
felt)than
and
any
the
the
by
an
inative
imagruddy
is in its finest
of the head
conserve
and
amples,
ex-
heart,
the purpose
of
popular instruction;popular,
that it is emotional,
reason
vital; and
deeper in
be, and
best to
as
takes
the stirred heart of the
union
happy
it
place
a
the unregulated
of
inspiration
an
feelingsto
the
of
place
to say
it to be
faculties,and conveys
of the
not
Legitimate drama
idea of the brain,or
road
viction
con-
goal perhaps speciousand
a
for the exercise of the
or
ing
the unthink-
temptationto play upon
a
instructive,because
stays longer (beingmore
mere
crete,
con-
it sinks
keenly
exercise of the intellect in
the world.
The
of the
student, whether
plaj^in
will scrutinize
hand
the
or
at home
with the book
in his seat at the
skilled effects
seeking principlesand
171
of
theater,
climax,
understanding
more
HOW
SEE
TO
clearlyhis
pleasure
A
PLAY
therein.
will
Shakespeare,for example, he
obligatoryscene
of
is the trial
and
the
it
scene
height is
begins,that
take
his
blood.
scene
Pinero's
so
of
and
the
with
the
final
choose
between
many
like
the
scene
of
scene
thing
cross-
Jones's
in Lord
in Shaw's
scene
in
Mrs.
lington's
Dar-
Lady Windermere's
throws
Candida,
forward
the
the end, and
makes
his heroine
husband
lover.
These, and
and
them, will furnish
reflection and
the
of the
in
playwright
faireto
fine
Mrs.
Second
scene
woman
and
to her
the crucial
as
the
in Wilde's
rooms
to
lettingof
the
fingeron
lover
the
Defense,
a
tells the Jew
of the action; and
will put his
examination
scene
from
is revealed
the climax
And
to show.
where
fall away
powerful drama, Magda,
of Paula's
the return
Dane's
when
strongest piece. The
Tanqueray,
of Venice
drama, he will think of the
Magda's past
as
that the
moment
of flesh without
modern
old father
the
Portia
in Sudemann's
in which
Fan,
and
where
pound
In
the exact
reading
see
Merchant
The
reached
In
prove
ample
food
for
helpful in clarifyingthe
172
HOW
ahead, and
favorable
TO
impressionhe
girdinghimself
has
A
where
PLAY
diminish, even
it may
manipulationof
arena,
SEE
the
scene
has
a
nulHfy
just won
by
faire. And
for the last battle,he enters
many
a
good
unexpectedlyfallen
174
man
before
before
the enemy.
the
his
so,
the
him
CHAPTER
X
ENDING
rriO
-*"
many
who
one
have
plays,which
seem
with
the last act.
in the
he
than
problem
The
dimly
main
that
give pleasure
something
of
aware
An
theater
evident
wrong
feel this,
analyzed the
been
involved.
his
play-goermay
has
never
in
become
successful,have
although
more
is watchful
seat, it must
and
PLAY
THE
cause
the
or
artistic
effect of anti-climax
is
produced by it,interest flagsor utterlydisappears;
the
final act
to
seems
the stage, like Johnson's
on
Several
combine
reasons
experience. One
from
hard
scene
the discussion
fortune
and
to
last part of
of
lag superfluous
player.
this
to make
may
have
the climax.
the
by contrast;
play
be
175
all that
common
un-
emerged
It is the
of the last act to follow
suff*er
no
the
even
such
great
if the
an
act
HOW
should
TO
that
of the drama
find
to detract
the
and
The
taxes
the last act
much
attraction
faireand throw
a
the center
I
in them
griefmore
drama.
It may
of
even
dramatist
his climax
scene
play at
as
a
the
do
act
which
be doubted
has
so
many
technic,go
frequentlythan
handling
so
much
in
to
no
plays with
right of
some
the utmost.
opinion that
construction
and
nite
defi-
complete successes
sound
the
of
am
particularof
to
this is that
examples of
pieceshere.
come
ingenuityto
to the final act
excellent
matter
of
proof
dramas, up
a
make
positionin
his
his
unprofitable.To
scene
of its due
a
case
interest,offers the playwrighta very
labor
no
of the
conchidingsection
givingit so
from
the latter out
one
this
to
disadvantage,
palatablewithout
and
nature
stale,flat and
this
overcome
PLAY
the auditor, reactingfrom
excitement, may
of
A
be, there is in the
hkehhood
as
SEE
existence
in this
cessful
suc-
closes the
if the inexperienced
trouble
with
with this final problem. If he had
fairehe
all. But
of the drama,
would
this
hardly have
written
trickyultimate portion
seeminglyso minor,
176
may
prove
THE
ENDING
will
that which
victorywith
big scene
ohligatoryscene.
the
over,
as
resolved; the main
make
to
has, with
to its
heightby
is
comedy
a
a
either
and
of
would
in
that which
struggle,
any
plot,it
that
eye-compelling.If
unknottingmeans
an
in
of this final part
to be
the
rounding
fable,the smoothing off of
finality.If
play
all difficulties. But
appear
productionof
moved
re-
catastrophe,
spells
the chief business
play
of the
and the
and
bined
com-
gentledescent.
more
fall
tragedy,the
for
fall from
now
be the form, then the
case,
of the
height; it must
a
are
been
The
of
increasingsense
solution
In
have
insurmountable.
abrupt
with
defined
are
plot tangle have
and
plausible
a
more
happ5^
out
an
done
important elements
characters
the
proved
or
If it be
to be
bad; the obstacles which
or
grown
if,with the
as
story is concerned.
The
this is true.
good
seem
littleremained
far
plaj% so
sense
and
in the full flush of his
triphim
first blush, it would
At
the
PLAY
corners,
artistic effect of finish
complete
part of the story be in-
will be in all
has to do with the
177
probability
subplot,if
there
HOW
be one,
SEE
the
retention
of
to half
leave somewhat
of the main
in the last act, he has
his
scene
obligatory
he
and
satisfaction into the
of what
A
accomplish.
strain
over,
has
generallyright
possibledramatic
things this
act
\^ith the
It can,
to have
interest in such
strong
to make
a
its nature,
a
this
a
however,
can,
chief stress and
in whom
of
if the drama
mitigatepain and
178
some
entertainment.
be verj^
must
for prolonging
sufficient reason
lighterturn
dience
au-
their personality,
be
tragicin
of events,
brighterdisplayof psychology-,
may
to
the
interest in
warm
stage persons
play. Or,
some
at the
faire,even
a
thusoiferingincidental
The
mistake.
strategic
pleasantmanifestation
further
should
more,
a
exhibit characters
come
for
is to follow.
of
number
all
scene
theater
probabh' weakened
his instinct is
so
his
story to be cleared
made
prefersto get
expense
hour
make
justifythe
to
in the
an
up
when
ters.
subsidiarycharac-
in order
the audience
minutes
And
PLAY
pla\^vright,
wishing to
last act of interest, and
twenty
A
with the fates of
or
If
TO
soften the
or
be
awe
some
sented
pre-
and
theme;
the main
inspiredby
terror
PLAY
THE
ENDING
deaths of the
Shakespearealleviates the
of
playhouse is
of
hTic
of events
over
their fair
for
leavingthe
created, without
thus
the
it by
does
did
Greeks
at
song
melodrama
better mood
A
The
life.
about
the reconciliation
by
estranged families
the
bodies.
young
Juliet
and
lovers in Romeo
to smooth
an
out
the
wresting
violent
trouble,as well
the last act
of the situation
the
show
can
such.
as
alreadylaid
logicaloutflow
precedingacts
Another
lurks
danger
be
may
that, in view
of the drama.
in this for
shown.
of the
brought
do^^Ti and
to its issue in the
It
nician,
tech-
the
almost
would
largelysupererogatory
character of this final act, inasmuch
play
seems
over
practically
it might
faire,
with its most
out
be best
there
with
honestlyto
the
end
arrestingscene
exciting,
the final half hour
But
as
tion,
here is,I believe,its prime func-
Also, and
seem
use
tragedies;
interest in character
by lesseningour
as
the
by
their
often
lying
any
this
of
end
stance,
for in-
as,
is
an
as
scene
the
the
a
piece
and
cut
altogether.
artistic
179
reason
for
keeping
HOW
it as
TO
feature of
a
of the years
;
SEE
justreferred
the instinctive desire
handle
his
the part of
on
from
as
plausible,
to
scene
to be
play which rings down
sensational
moment,
dumb
lights
go
the
real life
To
the effect upon
as
to make
as
pleasantto
esthetic vraisemhlaiice.
is,watch
imaginativeto
theater
leaving you
up
and
change from
should
find
The
some
Greeks,
with
mitigated the
their colossal
this
true
dazed
by
a
a
and
ders
ren-
feel that
you
garishstreets,
motor
and
cars
Art,
wrong.
not
be
so
pletely
com-
life;the good artist
other better way
as
of
sense
life fictiveand
of
jarringand
variance
gradual,
so
the orchestra
whisper to yourself,should
at
you.
is
the transition
how
see
to
so
the last curtain upon
the life actual
suppers
matic
dra-
has been
yourselfmade
clanging trolleys,tooting
you
the
one's
its final banality. Somehow,
this sudden, violent
mean
cooperativeauditors
the stage
stage
the end
to it. I
the cross-section of life which
exhibited upon
so
PLAY
to
good play-making-
I have
artist and
A
to
dismiss
I said,sensitive to this demand,
terrible
happenings of
legendarytragediesby closing
180
HOW
moving
us
from
enters
of
great
die.
of
in
world
of
The
remind
Hamlet
a
to
vision upon
right,for
aside from
time
way
As
of
thing,
an
the act
not
pleasure,
of
certain austere
call it pleasure,
from
that
beauty
the troubled
the last act
and
of
sophic
philoof life.
waters
artistic justification,
if I am
followingthe climax, quite
the conventional
demand
filler,and
its convenience
binding up
loose ends.
the function
loftymood
a
that has its
he asks
But
the oil of peace,
is then
of the
Thus,
repelsand dispirits.
satisfaction,
yes, why
There
must
cosmos
different
very
sympatheticrecipient
gets a
pour
lies the
Hamlets
the terrible lifts us
tragedy.
that
us
terrible is the horrible,plus
the horrible
noble
cares
tion
horrible,with this allevia-
mere
searchingseriousness
where
the
ment,
mo-
which, after all,he is but
beauty,becomes
beauty,and
a
fate
of the
over
doing,to
so
of
the terrible;the
the
sadness
though the Opheliasand
world
of
PLAY
part ; and that the ordered
on,
go
A
Fortinbras, to take
the individual
outer
small
SEE
the solemn
kingdom and,
beyond
a
TO
of the
182
great
scene
for it
too
in
as
the
is to de-
ENDING
THE
velop and bring to
of the
principal
things
of the lesser
taking care
effect of harmonious
a
the
head
a
that of this final act would
play,so
to be the
PLAY
dangers,triumphs over
is to
comment
to be
act
prove
it is hard
over,
what
see
justifyit,and yet
while, you
will,if
your
last
a
if that act
to such
The
in mind.
It is
interest when
taken
of
a
the
care
example
play,Rosemary,
man
admiration
has
up
a
of
timent
sen-
well,for
as
manipulated his
The
Thomas's
be studied with
can
made
do
terial
ma-
result.
good
last act
to
care
you
audience, express
and
gratitude,
the theater artist who
aged
to
part in the Triple Alliance
of
been
difficultiesand
them, whenever
actors, playwrightand
Hour
whenever
freshlyinvented, unexpectinteresting,
edly
worth
your
an
the effect that, since it all appears
offer to
can
to
things,
artistry.And
playwright,confrontingthese
seem
much
Witching
profitwith
masterly example
thingsvital
of.
Another, and
is Louis
where
parts from
to the
Parker's
at the climax
the young
183
of
this
added
story have
very
ferent,
dif-
charming
a
middle-
girlwho
loves
him
and
HOW
TO
SEE
whom
he
engaged
the
to
nothing can
tells some
awful
violentlytwisted
ending" in
an
of
indeed, what
the
old
of the
as
his
can
of
piece.
he do?
ninety.
beautiful
sting and
He
has
was
Parker's
of
he do,
bold stroke of
final scene
of
man
fifty
forty an
an
him; and,
God
for
plucked out
flower-like
the
fragrance.
addendum
play
a
to
a
that
higher
true
to say
that this
the work
of Mr.
Murray
category. I believe it is
Carson, Mr.
does
loved
she
It lifts the
last act
given us
learns,by the finding
This is a fine illustration of
unusual
he
"pleasant
have
a
the
Time
only the
is congruous.
the dramatist
a
descends, he thanks
memory.
left
ending;
life. Had
What
By
girl'sdiary,that
the curtain
ventions
con-
outrageous disturbance
forward, and shows
man
sad
into
he projects
the
imagination,
years
a
lies about
the drama
an
ruined
and
key
it is
the last act he would
example
the
is not desirable. The
change that, unless
ever
not
moreover,
another, and, from
surely,and
over,
he does
feeling,and,
of age, the match
story is
PLAY
loves, because
realize she returns
she is
A
collaborator
184
in the
play.
f
THE
ENDING
One
bringout
given,for
end, when
the
the
story to
a
conventional
middle-agedlovers,who
motored
and
danced
flirted,
story,and it is in
The
essence,
widow
staid Boston
by
New
gay
has been
York, her
else
What
into
the
over.
phosed
metamor-
have
maneuvers
;
she has got her
be offered to hold
can
eve
love
a
it ought to be
resulted in the traditional end
man.
on
If the story be
wedding tour.
have
themselves
engagement and marriage,are
of their
recent
of D-iscretion,
by the
Years
comedy,
Hattons, conducts
an
received
not
attention in criticism. The
overmuch
these
a phase
clearlj^
more
writing^^"hich has
dramatic
clever
be
example may
more
illustrationswill
of
PLAY
the
interest?
And
justhere
is where the authors have been
able,passingbeyond the conventional limits of
stor}^to introduce,in
a
touched,pleaslightly
ing
that underlies
fashion,a bit of philosophy
tlie drama
and
the close.
We
givesit an
see
the
that
at
enjoyablefillip
newly
wed
ing
pair,fac-
and secretly
wedding tour at fifty,
longingto giveit up and settledown comfort185
HOW
home.
during
the New
York
in the
theybelong? So,
and
they confess,
best
all.
Still another
he
as
act.
to which
to
old
grow
fully
grace-
and
comedy
the last act is the
some,
the act preceding,
superfluous.
trouble
confronts
the
grapples with
at
comes
falls under
He
ural
nat-
charming garden scene
Yet, regarded from
it seemed
be
not
It is excellent
psychology; to
of
playingyoung
in the decade
agree
together.
sound
been
whirl, why
enjoy life
and
PLAY
A
have
They
ably at
now
SEE
TO
the
wright
play-
the final
temptationto
make
a
desirable conclusion,the "pleasconventionally
ant
ending" already
which
is
supposed
animadverted
to be
the constant
of the theater Philistine.
the
carry
the
out
with
story in
what
and
he make
climax,
the
a
Shall
problem.
a
has
situation therein
to
186
playwright
it harmonious
make
before, both psychological
events?
congruous
deduced
shown?
part of the
the
logicof
conclusion
properly
way
gone
in the
petition
served,
Here, it will be ob-
pleasantending becomes
constructive
against,
with
result from
If he
Shall
the
the
do, his play
ENDING
will be
respective
parts
shall he,
in
PLAY
of art, tonal in
work
a
THE
keyed
are
adopting the tag
fairy tales,"and
whose
totality
to this effect.
that the grown-up
for?
his most
been to throw
dramas
A
end.
weaken
dramatic
in order
ment
condi-
or
spoilthe
either is ineffective
be left to the
drama
may
question
plan has
at the
by
all
of
this handling
play. The ending
unbelievable;
it shows
had
or
better
imagination.
attractive
by
what
ing
cry-
moment
effect
because
because
unnecessary,
are
large percentage
of the last part of the
An
this
meets
in his last act, unless his
face to face
play's verj^
babes in front
dramatist
Every
us
they lived happily ever
so
for
give this supposed-to-be-prayed-
to
Or
line familiar to
distort his material
and
after," wrest
a
Mr.
and
deservedly successful
Ann^
Zangwill,Merely Mary
be cited to illustrate the firstmistake.
Up
to the last act its handling of the relation of the
gentleman lodger and
is
pitchedin
the
key
sympathy
in itscharm.
the
quaint little slavey
of trutli and
has
a
ens-like
Dick-
in it whicli is the main
But
in the final scene,
187
ment
ele-
where
HOW
Mary
TO
Ann
has
become
nothing about
the
fashionable
a
young
friend, and
man
as
impossibility)
previousillusion
feels
intelligent,
pricefor
the
PLAY
a
is such (tosay
results,the improbability
match
the
A
her whilom
meets
woman,
SEE
such
a
the auditor,if
reality;
of
that he has
union.
improbable may
destroy
to
I
paid
not
am
be
not
high
too
a
arguing that
the
legitimateon
stage ; but only tryingto pointout that,in this
the
particular
case,
in
previousacts, is the key
hence
the
excellent
of
Keys
where
it is basal
to
that
with
are
One
is Mr.
shocked
we
artistic
in
Seven
some
Days,
their kind
and
at all
not
But
homely
lies at the end;
against
grant certain
we
and
matter
in its
and
probability;
Mine,
Baldyate,
in the least.
is too true
play,established
as
improbability,
happenings not
is quiteanother
of
sin
a
farces, Baby
Seven
or
is
change
probity. The key
so
of the
key
likelyin
of
ditions
con-
life
"
necessity
rehensible
repAnn
Merely Mary
fashion
"
to fob
us
off
believed it at first and
at its mendacity.
of the best melodramas
McLellan's
Leah
188
of recent
Kleschna.
years
Its psy-
HOW
the
on
stage,
the
girlin
by
the
very
her
the
of the
things
placesbehind
of
visit to
a
his
the
getting along. Meanwhile,
is
in his seat
spectator murmurs
and
kicks
These
centeringin
that it is,or
reason
indicate
act
an
knowing
hope)
convention.
the
some
of
which
for
lems
prob-
the very
portant,
comparativelyunim-
seems,
is all the
protegee
(letus
againstthe pricksof
examples
likelyto trip up
more
dramatist
who, buoyed up by his victoryin
fine and
effective
forgetfulof
a
fall
the
"
that,in order
the
left to do thereafter;
a
reaction,and
pridegoeth before
No
wonder
all such difficulties,
wrights
play-
projecttheir
into the last act
it at the
state of
a
force,
climactic
curtain!
the
dodge
sometimes
a
fact that
fall of
to
of
scene
to the final act in
comes
a
and
Nature;
how
see
her
by bringingthe
work
then caps his unnecessary
on
exhibits
quarters,aided and abetted
new
expensivebackground
statesman
He
shown
story proper,
painterwho
scene
PLAY
A
if
even
the Hmits
beyond
SEE
TO
and
or,
so
shorten
what
ward
foris
going further, place
play'sterminal point. But
190
climax
the artistic
THE
ENDING
to
objections
this have
of
treatment
his
sharj^en
and make
of his art to meet
The
a
tion
part of the satisfac-
it
it.
business of the last act of
fundamental
in
scene,
to
a
of
situation
a
far
so
those results
as
part of the auditor.
of
the
advance
w
ith the
story and
by
Discretion
whether
not
a
pieceto
must
pertinent
are
either be
or
raises
the
be in
crisis
as
presented. The
and
Years
interestingquestion
the audience.
of the final act may
out
the
the
story
as
underlyingidea
Surely a
rich op-
littleutilized,
is here.
191
in
gladly received
only rounding
lurks in the
the
on
demanded
plays as Rosemary
as
portunit3%
yet but
again danger
the crucial
beginning,growth and
such, but in bringinghome
of the
general
results must
These
function
peculiar
lie in not
the
story and idea
helpful,when
citation of such
of
of
the audience,
pleasant and
show
presentedin
satisfactory
grasp
harmony
the
nical
this tech-
wits upon
play,let it be repeated,is to
results
the climax,
after
shorter, is advisable; and
must
demand
explained. Some
been
fallingaction
the
longer or
dramatist
PLAY
Yet
The
()p})ortunity.
HOW
last act
SEE
TO
might
take
the nature
on
tag",a preachment
to the
would
be
sad
misuse
a
But
playwrighthave
material
wider
the two
while it
kind
of double
be,
to
come
he
elements
more
adds
will have
function
technic of
new
finer bloom.
stimulating
performed
the
more,
auditor
intelligent
in the
this aspect of technic before
to assist in his
of the material
subject;if
the
key;
and
such
Such
of
a
the
accepted aim
of
plays.
playhousewith
him
will be
able
cooperationwith worthy plays
if
by noticingparticularly
the
In
a
this may
to-morrow
of the resourceful,thoughtfulmaker
The
lying
under-
of the drama.
to-day and
and
tive
inven-
of story
the
brings out clearly
theme, then
give
to
the skill and
final act which
a
course,
the chance
and
application
to merge
idea in
and
sophic
philo-
a
lated
organicallyre-
not
of
the drama
power
of
preceding parts. This, of
a
if the
PLAY
A
the
in hand
ment
closingtreat-
seem
anti-climax
it avoid
if it demonstrates
obstacles
play-goerwill
as
not
have
192
and
skill in
been
slightthe
only technical importance,but
to
germane
keep
coming
over-
indicated.
final act
as
will be alert-
ENDING
ly on
the watch
THE
to
see
PLAY
if his friend
successfully
grapples with
the successive
complex
and
problems which
very
stage story with
arise
difficultbusiness
the
the
wright
play-
last of
during the
of
a
telling
clearness,effectiveness and
charm.
193
CHAPTER
THE
T
\
*
SOCIAL
TYa
^
in the
of
the
and
a
in its
a
where
play
can
tural
cul-
why
should
ize
realwork
it is exhibited,
This other
art.
of
significance
under
any
other
the
son
rea-
house
play-
ment
people'samuse-
be heard
and
seen
imaginableconditions.
194
the
a
reason
placewhere
great, democratic
stories
as
more
to influence,than anywhere
as
effectively,
or
preciati
ap-
briefly
was
is a
possibilities
temple of
looks to the social
as
the
is another
the theater, the
be
as
theater attendant
that the drama
can
part
sharpen the
But,
chapter on
there
possibility,
of art, and
the
on
delightfulexperience;for
a
suggested in
play and
a
Primarily the
and
personalculture.
the student
of
them.
to broaden
PLAY
chief elements
making
play-goertoward
of
THE
attitude
intelligent
an
has been
sake
OF
surveyed the
now
involved
of the
aim
SIGNIFICANCE
have
suggested
XI
else
It is
OF
SIGNIFICANCE
a
emotionallyreceived
consciousness
and
And
so
the
more
tlian the
and
conscience
This
fact is
the United
recognizedabroad.
than
we
did that when
subventions
do
to their
high
theater stands
any
a
see
the
and
for
culture
and
like France
countries
make
grant
theater
with
that
(a good thing
that
general,upon
the
church, is
in
they
they
assume
the
for
feel it
vital influence upon
day. They
social forces
to be
plainly
more
the conviction
direct and
along
and
We
states
from
of
matter
coming
theaters and
life of the citizens in
of
becomes
States,as it has long
countrj^to possess)but
have
to
large.
officialsof the government
only
not
so
theater
now
the cities of such
or
folk at
is; being,indeed, a
been
directors
the
into the
deep
of
be
can
portant
questionof privateculture,im-
that
recognizedin
sink
so
question of
social welfare.
Germany
PLAY
the great lessons of life
place where
as
THE
the
the civilization
that
the
house,
play-
paper
school, library,newsone
of the five
suggesting ideas
to
mighty
a
nation
creatingideals.
The
intelligent
theater-goer
to-day,as
195
never
HOW
TO
SEE
before, will therefore
change
in the notions
amusement
that
upon
much
the
coming
and
is
that has
PLAY
with
note
interest the
concerningthis popular
yet
much
so
based
more,
within
happened
of
back
A
time ;
our
plays into literary
significance
acceptance, so that leaders in letters
everywhere
be
likelyto
are
playwrights;the
publicationof contemporary
drama,
and
theater-goerto
domestic, enabling the
is to
study the play he
recognitionof
a
: the
privateprofit
art, nourished
pridein
the
good
in mind
and
commercial
are
Little Theaters
all concerned
maintaininga
The
York
in
history,
house
with
observer
the
we
have
littlewill be
experimentsas
in various
the
for
implies,
that
trying to help a
fast-growinguse
and
looking to
one
by
people.
;
conducting this
of
theaters in New
local
seen
aim
interested in all such
in the
in
love of art which
of the
and
has
or
aim
another
institution than
of
see
foreign
that of the
dren's
cities,in the chiland
Washington,
luminat
of the pageant to ilthe attempts to establish
municipal stock companies, or
competent
repertorj^companies by enlightenedprivate
196
TO
HOW
with
And
the
in mind,
SEE
PLAY
A
general interests
of the people
open-eyed observer
our
quick to
approve
will be
ward
experiment to-
any
bringing the stimulatinglife of
to communities
hitherto have
while
been
with the
Boston
York,
a
or
Theater
Theater
Arts
a
welcome
at Hull
or
New
in
in upper
in
and
tions
emo-
give profit
to
in his
view, he will
in
people'stheater
a
House
that
amusement
way
the
on
ter
the thea-
citywhich
to the mind
pleasure. Catholic
just as warmly
South
deprivedof
hearers
the
sections of the
ministers
amusing
of
or
pecially
es-
Side
East
in New
in
Chicago,as
New
York,
Chicago,or
a
Fine
Theater
Toy
a
or
he will
in
Boston; believingthat since the playhouse is
in
and
essence
it must
service.
by
the nature
will
prickup
alert in
hearing of
where
rural
a
his
play,written by
He
will
a
given
was
auspicesfiftytimes
the state.
ears
the Minnesota
agriculturalschool,
Dartmouth
class of
neglectno
He
of its appeal democratic,
in
one
societyin
and
its
become
experiment,
member
under
season,
at
rejoice
of the
sity
univer-
out
through-
the action of
College in acceptinga $100,000
198
bequest for
a
interests
collegecommunity
of
he will also be
And
a
School
life.
town
that the Carnegie
note
of Drama
part of the educational
such
serving
Technology, in Pittsburgh,
Institute of
has initiated
glad to
and
and
academic
both
of
conductment
the erection and
theater in the
the
PLAY
THE
OF
SIGNIFICANCE
as
life.
organic
an
will
He
educators
thingsa recognition
among
the theater should be related to educational
And,
will
musing happily upon
to him
come
entertainment, instead of
best
And
explanationfor
it to be inevitable
as
well
form
as
so
under
long
our
the
see
of
the
the
cause
present conditions,be-
in nature, and
so
ple's
peo-
realizing
amusement,
of entertainment
And
now
of
will
growth
enormous
moving picturetype
a
pricefor
in this fact he
the
a
tional
ra-
four-fifths of all
to
offeringsprohibitive
Americans.
a
life.
it is
people'spricefor
a
that
matters, it
such
again and again that
strive for
to
in
see
popular in price
hence
quented.
populouslyfre-
who
theater-goer,
listened with
patienceto expositionand
at
least
199
hj^pothetic
argument,
indeed, will wish, as part
willing,
has
will be
of his watch-
HOW
TO
ful canniness
and
reads,
other
day
I have
an
judge
and
or
of
interpretation
his
modern
social life of
;
a
the need
of
from
it
work
a
something
"
propaganda
or
of art into
added
be
now
it
to
thesis
the
might change
Let
and
be
vital in
deals with life in terms
put it another
way,
be
of
must
aware
universal
the
to reflect
the intense and
defended;
rich
our
and
criminals
brothers ; labor and
scale,and
woman
of
as
capitalcontest
agitatingproblem.
200
of
business
treated
looms
To
age
an
ganism,
or-
seeing
attacked,the poor
are
combinations
it
practically
altruistic purpose
prevail.The
justice
sent
repre-
social interest.
drama
a
sertation
dis-
proportionas
tendency to study societyas
with
most
of
a
that, other
things being equal,a play to-day will
its time
have
to
centralizing
opinionabout
personal reaction
quite distinct
which
playwright,among
alreadyspoken
a
sees
country.
idea in drama
life
the
the
especially
own
PLAY
respect to the playshe
with
to
A
things,accordingto
life; and
his
SEE
up
All
as
our
on
a
are
a
sailed,
as-
sick
tic
gigan-
central and
this and
more,
OF
SIGNIFICANCE
the
arisingfrom
in treatingit
spirit
a
vast
and
a
new
the
are
All
knowledge.
forms, includingthis of the theater,
art
have
life is under
what
scientific
of
domination
the
in the
growth
ideal,with all that it suggests, and
conceptionof
revolutionary
the
the
great changes that
two
Hfe
in human
come
democratic
responded to
In
about him
and
the
on
of
of influence.
in
studying
tell the truth
to
attempt
an
factors
sympathy
means
depictions.Therefore,
of
attention
the
make
to-daylikelyto
the
shall get the fullest
we
play-goers,
of this
these twin
in all artistic
in the drama
claim
it
art
fellow-man
and
spirit
the frankest
the twentieth
use
century.
givessubstance, meaning
of
drama
the stage. Within
on
century the
last half
have
interest,offers
subject-matterto
of
range
same
PLAY
THE
and
est
strong-
intelligent
recognition
of it as
This
cal
typi-
is what
bite to the
plays
Shaw, Galsworthy,and Barker, of Houghton,
and
Kennedy
Francis
and
and
Sowerby, of Moody
Zangwill,at
this is not
to
farce, stirringmelodrama
201
their best.
deny
and
that
To
and
knowledge
ac-
enjoyable
romantic
ex-
HOW
travaganza
which
TO
SEE
simply furnishes
to
is,however,
It
be
drama
must
mirror
the time
like
wise
a
to
do
to
do
play
remind
of
this and
no
the reader that
the
day
the
something beyond this;must
and
it too; yes,
probe
physician,feel
the
pulse of
to-dayand diagnosehis deepestneeds
and
of
in terms
representativeof
most
sort
amusement
content
good story telling,
more.
PLAY
welcome; the
not
are
A
desires;in
word,
a
and
be
must
a
must,
man
ings
failsocial
drama, since that is the keynote of the present.
It will be found
of drama
that
which
in the
even
accept
we
as
typicaland
this social flavor may
it
body, but
urableness.
has the
]Miss Crother's
yet it deals with
Mr.
Knoblauch's
but
Mr.
Sheldon's
in its
definite
a
Young
The
its keen
And
tasia,
fan-
social satire.
a
serious satiric
conceptionsof
numerous
202
of farce,
also farcical
seems
type; nevertheless it is
relations.
pleas-
Wisdom
is a romantic
Havoc
thrust at certain extreme
its
aspect of feminism.
Faun
without
factory
satis-
detected,giving
and the framework
The
is not
be
detractingfrom
not
lighttouch
lighterforms
tal
mari-
dramas, melo-
SIGNIFICANCE
in form
dramatic
life
our
day
and
and
swell
indefinitely
which, while
comment
close
clinging-
life in
stage story
a
heavy,dull
which
the
and
shown
keen
and
solemn
be all the
touch
and
the
This
view
will
is not
in time,
somewhat
Anglo-Saxon
From
stantly
con-
intellectually
no
to be
necessary
is
one
social
for
sense
of
other nation,have
stimulatingbecause
more
necessitybe
irritating
one,
in fact, that
opaque;
through the
of
The
suggestiveit
or
must
that to be
the world
social
is strangelyfond.
Anglo-Saxon
one
from
of
idea that criticism
polemic is an
to mention
French,
with
so
the notion
refrain
not
the
unpleasant,
or
to
criticism. The
or
play of
the list. And
good entertainment, do
of
crime
plays, pleasant
more
many
PLAY
sociological
aspects
the overworked
"
"
THE
intention,dealing with
economic
the darker
of
OF
to
sure
of the
light
adaptability.
doubt, percolate
obstinate
layersof
the
mind.
considerations
these
that
our
and
broad-minded
it may
follow
while generally
theater-goer,
receptive
type of drama
the
in his seat to the
particular
playwrightshall offer, will
203
HOW
incline to
in
seem
TO
SEE
of various
one
the time; which
has
always done.
the home-made
Sudermann,
such
make
One
or
he
one
he will not turn
European
a
that has
will
since its
be his own,
But
be
possibleways
drama
He
the whole
on
drama
by
Maeterlinck
a
great work
universal
in that vast
of
art
Laodicean
at
a
is thus
a
cold shoulder
to
a
D'Annunzio,
a
or
and
to
it
Tolstoy,if
a
deal
draw
bond
common
with
life in
relations
to
as
borders.
of
the
gether
peoplesto-
interest,a unit
the
communitj^ which signifies
the
theater-goerwill
regard
for
or
human
have
local
technically
large; some
menage,
all-
ture.
crea-
but
playswhich present
a
vergent
di-
conditions
to
practically
incomprehensible
the French
more
better understand.
can
and
applications
national
of life
is
problem
embracing experienceof being a
Yet
for
and civilizing
functions
socializing
of the theater
into
vived
sur-
most
care
it quiteindependentof national
of the
to
play as againstthe foreign,if
equally well made,
likelyto
PLAY
preferthose playswhich
some
express
some
A
cans
Ameri-
of the Gallic discussions of
for
204
instance.
Terence
HOW
TO
it has been
which
such dramas
The
and
is made
to
is
of
one
The
attain
Cyrano
Easiest
de
dida,
Bergerac, CanThe
Knows,
catholic
(theenumeration
Way
and
receptivity
has
to this
been
longer
reason
any
be
not
and
invite
fairlylarge.
of civilization. Let
stage story which
the world
of
that it may
services
more
men
not
There
is
ister
min-
which
exchange of
declared
a
theater
sense
of
in
to participate
fruitfully
us
Arnold
the life of
the
drama-going
our
pleasure,quicken the
that free and desirable
Matthew
to anyone
whose
point,and
why
criminat
dis-
some
to follow
of the factors
one
to rational
art
trouble
the
taken
experiencehas
should
Great
of type)
imply the greatestdiversity
discussion up
no
in
Girl, The
patronage, should appear
who
with
success
Little Rich
Every Woman
Divide
PLAY
Bird, The Servant
Blue
Poor
Witching Hour,
What
A
to
possible
The
as
the House,
SEE
us
to
be
ideas which
the true
aim
grant readilythat the
shows
tions
within theater restric-
land and the
outlyinglife of
has its definite demarcations;
to
advantage perform certain
natural, for
206
example
to
the
OF
SIGNIFICANCE
church,
school.
the
or
the basis of the bosom
debate
not
if the main
nor
interests
and
the
eloquenceof
deal with
Concede
to
were
that it
the purposeful
the didactic
theologian,or
and
it can
pulpit. But
should
men,
beings,in
It should
demonstrative
or
be
dogmatic.
To perform
suggestibility.
it is a
theater,a
mightj^one,
the
many.
And
may
was
now
whenever
elect
tional
emo-
intelligent
an
theater that
and
by
theater-goej's,
it,it will arrive.
suggested on
be stillmore
Its
this service,
to the few
rational amusement
majorityvote,
It
is to have
theater,a
self-respecting
shall purvey
the
suggestive,
great outstandingadvantage lies in its
and
vital
and with the restraints
the humanities
art.
particular
of
settle a matter
interests of human
arousing,not
is
legalquestionas
a
questionpertinentto
any
to the broad
of
spirit
the
passions
denominator
common
questionwith
religious
a
upon
questionwith
philosophical
purpose
of
finality
of its
appeal
of the thinker, nor
the aim
law;
a
PLAY
It must
generalemotions.
that of the
should
its
and
mankind
of
THE
an
earlier page
evident
207
that
and
intelligent
HOW
TO
SEE
A
beginslong
theater-going
the theater.
depends
kinds; upon
various
a
It
of the
the drama
the
present, in
The
with
the
few
years
from
the
the
the
nished
knowledge fur-
dramatic
be
hardly a
was
England
produced
were
the
in mind.
better.
in
voted
de-
of the
stage
patron of the
have
we
as
periodicals
now
changed
Confining the
monthly
making
called The
the reader
so
isted
ex-
rather in the interests of
stage people, actors, producers,and
like. This has
the
Such
serious
America
or
of the
view
writing.
amplifiedhere.
theater,the critic-in-the-seat whom
steadilyhad
knowledge
playerand playwright,
interests
leigitimate
point of
literary
printed drama, past
there
in
a
as
multiplyinglibrarythat
may
ago,
to
criticism;upon
stage and
publicationeither
to
the
fast
a
last statement
A
of the renewed
dramatic
with
goes
the theater
to-day; upon
best
too
familiarity
deals
of
of the aids to this
by
one
preparationof
upon
specific
problems of
and
and
before
sense
a
social institution,
and
of
quality
PLAY
very
to this
survey
Theater
aware
208
much
of
has
the
for the
country,
some
current
value
activ-
ities. The
by
monthlies, The
two
Anthony,
B.
and
principles,
The
are
of
auspices
The
and
dignified
earnest
stage; and
of
print.
a
complete play
years
theater and
of
form
The
theater
not
for
play; and especially
abroad
Book
is
much
being
hitherto
Lore,
in
though
al-
matters
a
monthly
and
specialists
in the better
first
often
class
209
of the
tions
its transla-
of the best
terial
ma-
given English
Madison, Wisconsin,
At
articles and
course,
regular appearance
for its able critical treatment
in its columns.
Play
the
with
do
honorably conspicuousfor
foreigndramas,
from
to
to
exclusively
given over
dramatic, has been
many
the
represent the
quarterly.Poet
Another
not
has
to
of it is the
feature
a
attempt
all that
of
cultural work
quarterly,
America, is
of
League
Drama
con-
publishedunder
and
edited
Drama,
The
useful.
very
of
light of permanent
in the
drama
temporary
Plaij-
respectively
g-ivento the technical consideration
are
a
American
Luther
and
T. Price
William
PLAY
Dramatist, edited
The
wright and
THE
OF
SIGNIFICANCE
also edited
by
luminat
containing il-
reviews.
And,
of
monthly
periodicals,
HOW
and
TO
SEE
A
PLAY
in this field
weekly,papers
appearing
are
nowadaj's with increasingfrequency,a
to the
of
the
William
like W.
Arthur
Hamilton,
in the
be read
collected
abroad
form.
founded
the work
function
will
community.
to establish and
not
train and
make
a
class of
William
in
believe
the theater,
such
important and
more
vigorous dramatic
A
criticism to
maintain
wanting
that
necessary
critic
Archer
critic as
and
will
his
its significance
in the eyes
assume
Signs are
to
of
appreciation
and
more
impliesworthy
and
Craig;
of the dramatic
be felt to be
movements
It is reasonable
that,with the renewed
in
Mash, the publication
Gordon
by
to
are
or
periodicals,
in The
and Drama.
Poetry
Huneker
in
Chan-
Bennett,
Advanced
chronicled
are
James
dailypress,
book
Hapgood,
O'Donnell
S. Metcalf, and
ics
Crit-
Eaton, Claj'^ton
J. Moses,
Winter, Montrose
James
of the
P.
Ruhl, Norman
Pollock, James
ning
of interest.
generalgrowth
drama
monial
testi-
we
riod
pe-
self-reveal it
rightstandards.
shall
gradually
in the United
States
representedin England by
and
A.
210
B.
Walkley. Among
SIGNIFICANCE
the
to
OF
publisherswho
placegood
hands
of
have
drama
W.
have
readers
and
been
the way
led in the movement
the
firms
of
honorably to
are
of critical books
the
in the
Macmillan,
Brothers, B. W.
Doubleday, Page
and
aspects of
form
Kennerley, Henrj^ Holt,
Luce, Harper and
Huebsch
PLAY
in permanent
Scribner, Mitchell
John
THE
which
subject,they
"
Company
the fore.
In
study the
many
are
being
now
printed so constantlyas plainlyto testifyto
the
attitude and
new
technic
William
T.
W.
can
the
profitturn
Archer, Brander
The
student
of
to the manuals
of
liam
Matthews, and Wil-
ton,
Price; the studies of ClajrtonHamilP. Eaton,
Clark, and
to
with
interest.
Norman
others.
For
theater, and
Hapgood,
Barrett
the civic idea
the
applied
development
of
the
pageant, he will read Percy Mackaye.
And
when
it comes
to
have
seen,
hardlya
week
of
important foreignmasterpiecein
some
English,or
some
speech,often
playsthemselves, as
by
goes
without
important drama
in advance
stage production.The
of
or
the appearance
of
English
coincident
best work
211
we
of the
with
day
is
HOW
TO
SEE
PLAY
where, only a
readilyaccessible,
now
book
ago,
standard
publicationof
the
things of
It is worth
of
attractive
which
the
League's
Drama
drama
of the
be
give the
seeker
salient
for
the
operation
co-
an
of
which
cost
a
And
eign,
for-
and
cuts
the Drama
and
essays
is
books
incorporated
nominal
and
sum
lighta thorough
touched
upon
will
survey
in but
a
few
particulars.
longermuch
In short,there is no
the
pleading ignorance on
aid, if the desire be
upon
Drama
Company,
"
which
a
after
is here
what
of
known.
un-
plays printed in English,
list of
procured
to
The
day, native
publicat
selective List
the
League Plays, in
previousexpense.
complete
can
the
the theatre, with
about
next
with
publishing,
Doubleday, Page
is offered
(save
past) was
series of
good
in two
is
littlewhile
drama
knowing-that
of America
League
a
A
the drama
and
matters
ground
to
for
excuse
inform
of
quate
inadeoneself
pertainingto
the
body
of
theater.
The
drama
fact
is
that
making
our
the
contemporary
literaryappeal by
212
ap-
HOW
theater welcomes
the
current
a
; it may
the
proach
re-
it will be
soon
printedplay
The
sented
pre-
American
young
has
While
read.
as
the past with
a
of
that modern
been
of second
Wilde,
heard,
and
and
a
ing
publishthird-rate
good thing
plays,whose only demerit
that the dramas
Shaw,
as
raking over
are
earlier times, it is
contemporaneity,are
honor, and
and
seen
scholars
truly made
fine-tooth comb,
specialeditions
dramatists
is not
literarydebut
a
until his drama
their
be that
even
the boards.
feel that
well
longera
letters,like his fellow in France, may
of
man
is no
plays. It
to have
reproach not
on
aging
encour-
the view of literature to have your
from
play acted
helpfuland
most
as
PLAY
A
established habit of the prompt
now
printingof
SEE
TO
may
receiving
be
like
of Pinero, Jones,
Galsworthy, Synge, Yeats,
Lady Gregory, Zangwill,Dusany, Houghton,
Hankin,
British
Hamilton,
Sowerby, Gibson,
playwrights
; and
acted
of Gillette,Thomas,
Moody, Mackaye, Peabody, Walter, Sheldon,
Tarkington,Davis, Patterson, Middleton,
Kennedy,
acted American
214
and
playwrights (two
dozen
be
stand
to
for two
that
testimon}^
livingtheater
bygone
to
has
dimmed
our
daylightof
use
and
not
home
and
looks
way;
much
school
of
said
the
with
to have
before
to
clear
the
the
after.
and
At
be under
trainingcan
it.
and
thought
been
subject;by becoming
history,theory and
flection
re-
oneself
making
By
a
towing
kow-
Preparation for
the best that has
the
on
good
reading and
happy preliminary
introduce
aware
the
can
sacrificialsmoke
sometimes
eyes
is
academic
mere
a
the Present.
at
It
asking.
altars whose
of the theater
more)
reallycoming
are
we
PLAY
and
score
the
print for
in
had
THE
OF
SIGNIFICANCE
conversant
the
practiceof
includingthis as part of
consciously
playhouse,
sake, by
education; and, for good citizenship's
regarding
need
and
theater
sound
therefore
a
entertainment
rightof
the
people;in
word, by taking one's play-going with
sense,
trained
taste
finds himself
human
being.
will react
He
broader
ter
bet-
and
quickerin
comprehensivein
215
good
son
per-
will be
more
a
right feeling,a
becoming a
sympathies,more
and
and
a
as
his
his outlook,
to life
satisfactorily
TO
HOW
in
be to seek
this?
of
counsel
a
Hardly,
when
theater has
gain made,
much
so
begun
and
of conditions
whose
the
to
"elevate" to
and
the
familiar
the
these
mean
is
there
the
this book
as
why
art.
to
understandingbetween
and
fall
is
by
one
*
leads
mis-
that
'elevate"
good.
elevate
box
view, the
If
and
lack of
depress the
correct
word
playhouseinnocently
pleasant,
be
in the
theater,it would
is better to say that
should
to
is Progress.
vocabulary. It
things,well
reason
no
still
bettering
allow the unfortunate
rational,and sound
we
the prepotent
;
name
of the
from
ilized
civ-
imperfectionsthat
presented in
to make
The
is recognized.Surely
antagonizes. It
view
wishes
drop
come
for
curred
already oc-
to that further
In all considerations
good thing to
has
the better way.
stimulants
exist,are
a
may
ask
perfectionto
influence of the audience
be
primary purpose
amusement.
pointing out
the
PLAY
happen, althoughin
the theater his
turningto
it
A
All this may
general.
Is
SEE
the
office
"
stage
except
the two.
two
But
should
a
ing
Unitrise
together.In fact,touching audience,
216
THE
OF
SIGNIFICANCE
and
actors, playwrights,
producers,
that is behind
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