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The distress which follows and chastises extravagant luxury often reduces the great to the use of the most humiliating expedients. When they desire to borrow, they employ the base and supplicating style of the slave in the comedy; but when they are called upon to pay, they assume the royal and tragic declamation of the grandsons of Hercules.
The stiff and stilted works of Sully and Rameau had thus far ruled the French stage without any competition, except from the Italian operettas performed by the company of Les Bouffons, and the new school of French operatic comedy developed into form by the lively genius of Grétry.
So is the scene where Crimsworth, without our knowing exactly how he does it, declares himself to Frances. The dialogue is half in French, and does not lend itself to quotation, but it compares very favourably with the more daring comedy of courtship in Jane Eyre. Frances is delicious in her very solidity, her absence of abandonment.
Montague wondered what one said to a chorus-girl on the way to supper. Afterward his brother told him that Toodles had been the wife of a real-estate agent in a little town in Oklahoma, and had run away from respectability and boredom with a travelling theatrical company. Now she was tripping her part in the musical comedy which Montague had seen at Mrs.
Sandy stood by with wonder showing in his face. "What kind of a play house is this?" he asked. And still the others laughed, bending over, now, and covering their faces with their hands. The change from tragedy to comedy had been so sudden that for a time the boys did nothing at all to solve the mystery of the sudden outbreak of laughter.
Since he needs to be believed only for the moment, he is not obliged to limit himself to possibilities. But to compose a true comedy is a very serious task; for in comedy the action must be not only possible and plausible, but must be a necessary result of the nature of the characters.
The latter, a comedy of intrigue, is one of the few plays that has never lost its popularity. Its lively, bustling scenes, and its pleasantly absurd characters, Marlowe, the Hardcastles, and Tony Lumpkin, still hold the attention of modern theater goers; and nearly every amateur dramatic club sooner or later places She Stoops to Conquer on its list of attractions.
The next morning she told me that, when she saw me come in, shaking all over in spite of the heat, she had herself shuddered with fear. After eight hours of sound sleep I felt all right, but I had had enough of the comedy, and to my great surprise the sight of Genevieve did not move me in any way. The obedient Javotte had certainly not changed, but I was not the same.
For Rosalind, as Woman the Pursuer, driven forward by the Life Force, is convincingly Miss Anglin's conception a conception which fits the comedy admirably.
But it is, moreover, consistent with the essence of the Old Comedy, where not merely the subject, but the whole manner of treating it was sportive and jocular.
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