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Who was the author of it is not known with certainty; but it is possible that the writer of it was John Heywood, the epigrammatist and court-jester. See Dramaturgic oder Theorie und Geschichte der dramatischen Kunst, von Theodore Mundt, vol i, p. 809. All was quiet in the palace of Whitehall.
Yet, while they were delivering each his own message, they accepted the model of the "well-made play"; and it is to this that we may ascribe the artificiality we begin to discern even in such masterpieces of dramaturgic craftsmanship as the 'Gendre de M. Poirier' and the 'Demi-monde. Upon Ibsen also the influence of Scribe is as obvious as it is upon Augier and Dumas fils.
His plays move us strangely in the performance, they grip at the outset and firmly hold us to the relentless end, because his dramaturgic skill is exerted upon themes essentially dramatic in that they deal with this stark exhibition of the human will and with the bitter struggle that must ensue when the human will is in revolt against the course of nature or against the social bond.
His concern was to enrich the repertory of the theater with good acting plays; plays which, when put upon the boards, would 'go', and go with such actors and such properties as were to be had. In his efforts to do this he was never restrained by any feeling of piety toward his originals from making such changes as commended themselves to his dramaturgic principles or instinct.
The dramatic problem then turned from the first upon the character of Fiesco. In the 'Dramaturgic' of Lessing the doctrine had been proclaimed that the dramatist is not bound by the so-called facts of history; that he may deal with them as suits his artistic purpose. But what was the purpose to be in this case?
If the strange and fascinating creations of Ibsen's last years were to be judged by ordinary dramaturgic canons, we should have to admit that in Little Eyolf he was guilty of the latter fault, since in point of sheer "strength," in the common acceptation of the word, the situation at the end of the first act could scarcely be outdone, in that play or any other.
To her, in these days of imminent dismay, my thoughts flew out as to a fair protecting saint; until the inspiration of her visionary presence wrought in my fancy with such a dramaturgic power, that I seemed to walk daily with her, and to know all those delicate and sweet propinquities by which liking passes into affection and affection is glorified into love.
The pistols that are to be used in the catastrophe are mentioned and shown repeatedly throughout the early and middle scenes of the play; so that when the last act comes, the audience thinks not of pistols, but of murder and suicide. A striking illustration of the same dramaturgic principle was shown in Mrs. Fiske's admirable performance of this play.
These three only were at once playwrights of contemporary popularity, masters of dramaturgic craftsmanship, creators of character independent of their own personality, makers of plays which deal with themes of an import at once permanent and universal, and poets also, each with his own philosophy of life.
He did not follow their example and study carefully the circumstances of theatrical representation as they had done, nor did he make himself master of the secrets of the dramaturgic art.
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