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These verses were in the dramatist's best Latin, and set forth the rules for his tavern academy. Much of their point is lost in the English version, which, however, deserves quotation for the sake of the inferences it suggests as to the conduct which was esteemed "good form" in Jonson's club. "As the fund of our pleasure, let each pay his shot, Except some chance friend, whom a member brings in.
They engaged the attention of the poet Frauzon, who was frequently present at the juvenile performances, and by his advice helped to form the young dramatist's taste, and correct her judgment. Her earlier efforts were in verse; but after a time she essayed to clothe her thoughts in prose, and in prose of a very vivid and forcible kind.
More detailed and scholarly histories of this time have been written; but no other historian has equaled Carlyle in presenting the French Revolution as a human tragedy that seems to be acted before our very eyes. He did not attempt to write a complete history of the time. He used the dramatist's legitimate privilege of selection.
From the standpoint of criticism, the main difficulty is that the actor's art may frequently obscure the dramatist's lack of art, and vice versa, so that a mere acting part may seem, in the hands of a capable actor, a real character, whereas a real character may seem, in the hands of an incapable actor, an indifferent acting part.
What the public finally gets is something three times removed from the truth that was first in the dramatist's mind. But I'm very lucky to have Godolphin back again." "I hope you're not going to let him see that you think so." "Oh, no! I'm going to keep him in a suppliant attitude throughout, and I'm going to let you come in and tame his spirit, if he kicks."
Monsieur de Marquet, with a nervous gesture, caressed his beard into a point, and explained to Rouletabille, in a few words, that he was too modest an author to desire that the veil of his pseudonym should be publicly raised, and that he hoped the enthusiasm of the journalist for the dramatist's work would not lead him to tell the public that Monsieur "Castigat Ridendo" and the examining magistrate of Corbeil were one and the same person.
Consummate acting is that which makes the spectator forget that it is acting. The part and the player become one. The actor, in himself and in the words he utters, is the unregarded vehicle of the dramatist's idea. In a play like Ibsen's "Ghosts," the stage, the actors, the dialogue merge and fall away, and the overwhelming meaning stands revealed in its complete intensity.
The incident is perfectly natural and probable; all one can say of it is that it is perhaps an over-simplification of the dramatist's task. The Second Mrs. Tanqueray requires an unusual amount of preliminary retrospect. We have to learn the history of Aubrey Tanqueray's first marriage, with the mother of Ellean, as well as the history of Paula Ray's past life.
In other words an imputed defect is never, at the worst, disengageable, or other than matter for appreciation to come back to my claim for that felicity of the dramatist's case that his synthetic "whole" IS his form, the only one we have to do with.
For his mother, as all the world knows, was Helen Sheridan, one of the three famous daughters of Tom Sheridan, the dramatist's only son. Mrs. Norton, the innocent heroine of the Melbourne divorce suit, was one of his aunts, and the "Queen of Beauty" at the Eglinton Tournament then Lady Seymour, afterward Duchess of Somerset was the other.
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