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Last week gave one an amusing opportunity of contrasting the merits and the defects of the professional and the unprofessional kind of play. "The Gay Lord Quex" was revived at the Duke of York's Theatre, and Mr. Alexander produced at the St.
The slight damage to the Charles Quex had been repaired, and at noon the ship was to sail. Stephen went on board early, as he could think of nothing else which he preferred to do, and he was repaid for his promptness.
Perhaps it had better be I, because I can run into Djenan el Djouad first, and send my man Saunders to watch De Mora's other gate, and make assurance doubly sure." "You're a brick, Wings," said Stephen. Lady MacGregor had sat up in order to hear the news, and was delighted with Nevill's plan, especially the part which concerned Stephen, and his proposed adventure on the Charles Quex.
Even when the result achieved is in itself very remarkable, it may be dearly purchased by a too long and too elaborate process of preparation. A famous play which is justly chargeable with this fault is The Gay Lord Quex. The third act is certainly one of the most breathlessly absorbing scenes in modern drama; but by what long, and serpentine, and gritty paths do we not approach it!
Lord Quex does not, I suppose, profess to be even so much of a character as that, and the other people are mere "humours," quite amusing in their cleverly contrasted ways. When these people talk, they talk with an effort to be natural and another effort to be witty; they are never sincere and without self-consciousness; they never say inevitable things, only things that are effective to say.
It is seldom that even the Charles Quex, one of the fastest ships plying between Marseilles and Algiers, makes the trip in eighteen hours, as advertised. Generally she takes two half-days and a night, but this time people began to say that she would do it in twenty-two hours.
As it happened, the letter was in Maïeddine's thoughts at the same moment. It occurred to him, too, that it would have been read by now. He knew to whom it had been written, for he had got a friend of his to bring him a list of passengers on board the Charles Quex on her last trip from Marseilles to Algiers. Also, he had learned at whose house Stephen Knight was staying.
These offers Victoria accepted gratefully; and as Caird put her into the fine yellow car, the handsome Arab who had been on the boat looked at her with chastened curiosity as he passed. He must have seen that she was with the Englishman who had talked to her on board the Charles Quex, and that now there was another man, who seemed to be the owner of the large automobile.
A stand-up fight between will and will such a fight as occurs in, say, the Hippolytus of Euripides, or Racine's Andromaque, or Molière's Tartufe, or Ibsen's Pretenders, or Dumas's Françillon, or Sudermann's Heimat, or Sir Arthur Pinero's Gay Lord Quex, or Mr. Shaw's Candida, or Mr. Galsworthy's Strife such a stand-up fight, I say, is no doubt one of the intensest forms of drama.
Nowadays the four-act form with a strong climax at the end of the third act seems to be most often used. This is the form, for instance, of Ibsen's Hedda Gabler, of Mr. Jones's Mrs. Dane's Defense, and of Sir Arthur Pinero's The Second Mrs. Tanqueray, The Notorious Mrs. Ebbsmith, and The Gay Lord Quex. Each begins with an act of exposition, followed by an act of rising interest.
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