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and, lacking that foreknowledge, it misses the specifically dramatic effect of the scenes. The author invites it to play at blind-man's-buff with the characters, instead of unsealing its eyes and enabling it to watch the game from its Olympian coign of vantage. Let the dramatist, then, never neglect to place the requisite finger-posts on the road he would have us follow.
Since the dramatist must, at the same time and in the same work, harness and harmonise the methods of so many of the arts, it would be uncritical to centre studious consideration solely on his dialogue and to praise him or condemn him on the literary ground alone. It is, of course, true that the very greatest plays have always been great literature as well as great drama.
Miss Mary tried to obey her, but Walter rushed in impetuously, pale, worn, agitated, yet enraptured at the first sight of her, and Mary threw herself round his neck in a moment, and he clasped her fluttering bosom to his beating heart, and this was the natural result of the restraint they had put upon a passionate affection: for what says the dramatist Destouches, improving upon Horace, so that in England his immortal line is given to Molière.
Dramatist and poet, b. of a good family at Little Barford, Bedfordshire, was bred to the law, but inheriting an income of £300 a year, he devoted himself to literature, and produced several dramas, including The Ambitious Stepmother, The Fair Penitent, and Jane Shore. The last, which is his best, contains some scenes of true pathos, and holds its place.
The pathetic picture drawn of parental suffering by the great dramatist in the character of King Lear, seemed realized to the life in the person of King James. Message followed message from the three kingdoms, urging him to return and place himself at the head of his faithful subjects in a war against the usurper.
And this is why a wise dramatist, if he were put to the choice, would prefer to have his piece performed by a company of average merit directed by a stage-manager of skill and authority, than by far better actors under lax and inefficient stage-management.
His are comedies not of character and sentiment, but of manners and morals, and therefore cannot be highly poetical; and thence he felt no want of a remote ground, clean of all local coloring and association, such as is essential to the dramatist whose inspiration is poetical, and who therefore must reconcile the ideal with the real, by which reconciliation only can be produced the purest truth.
It would be as unfair to overlook the special form in which Emerson gave most of his thoughts to the world, as it would be to leave out of view the calling of Shakespeare in judging his literary character. Emerson was an essayist and a lecturer, as Shakespeare was a dramatist and a play-actor.
Surely no woman ever was associated sentimentally with three figures more diverse a disqualified sovereign, an Italian dramatist, and a bad French painter. Stendhal, in his "Mémoires d'un Touriste," says that this work of art represents her as a cook who has pretty hands.
On all these points the silence of the comic dramatist is decisive evidence in his favour. He had also the moral courage, not always combined with physical of seeking to do his duty to his country, irrespectively of any odium that he himself might incur, and unhampered by any petty jealousy of those who were associated with him in command.
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