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Updated: June 9, 2025
There is of course that poignant little drama entitled "In a Gondola," but not much else, and for some reason the collected works omit the sonnet in honour of Goldoni which was written for the ceremonies attaching to the erection of the dramatist's statue near the Rialto. Mrs.
Anthony Wood has left a very disagreeable picture of Marlowe's character, which one would fain hope is overdrawn; but the dramatist's early death in a low quarrel prevented him from ever redeeming his early offences, as a kinder fortune permitted to his companions in the Stationers' bonfire.
He tore off the wrappers, and lo! it was a Fourth Folio of Shakespeare excellently well preserved, and with what appeared to be the great dramatist's signature written on a slip of paper and pasted inside the front cover. The problem of the genuineness of that autograph does not concern us. The great fact is that a Shakespeare folio turned up in Montana.
Far from being bound to do things in the most dramatic way, he often does wisely in rejecting that course, as unsuited to his medium. Fundamentally, no doubt, the same principle applies to both arts, but with a wholly different stringency in the case of the drama. "Advisable" in the novelist's vocabulary is translated by "imperative" in the dramatist's.
He was a splendid theater-goer, and took the keenest interest in all the Lyceum productions, frequently writing to me to point out slips in the dramatist's logic which only he would ever have noticed! He did not even spare Shakespeare. I think he wrote these letters for fun, as some people make puzzles, anagrams, or Limericks!
"It's the wretched condition of the theatre in our country," she complained; "to think that a few miserable newspaper writers can ruin the chances of a dramatist's being heard! The managers become panicky, if it doesn't go at once in New York.... There is a chance that they will put it on again somewhere West. But Tom hasn't much hope." "It was a poor play," Fosdick asserted flatly.
Sarcey, on the other hand, brought up in the school of the "well-made" play, would rather have held it a feather in the playwright's cap that he should have known just where, and just how, he might safely outrage probability . The inference is that we now take the dramatist's art more seriously than did the generation of the Second Empire in France.
Hunt's love for Procter was deep and tender, and in one of his notes to me he says, referring to the meeting my memory has been trying to describe, "I have reasons for liking our dear friend Procter's wine beyond what you saw when we dined together at his table the other day." Procter prefixed a memoir of the life and writings of Ben Jonson to the great dramatist's works printed by Moxon in 1838.
Celia and Rosalind, the latter disguised as a youth, are courtly characters; Phebe and Silvius represent the polished Arcadians of pastoral tradition; while Audrey and William combine the character of farcical rustics with the inimitable humanity which distinguishes Shakespeare's creations. It is noteworthy that this last pair is the dramatist's own addition to the cast.
Is Petruchio's conduct at home and the servants' comment upon it such as to make Kate's two entreaties explicable? What is the secret of her tractableness in Scene v? Are Katherine and Petruchio the most interesting characters in the Play? Why? Is their prominence due to their personal attractiveness or to the Dramatist's skill? Why should the Play not end with Act IV? What does Act V add?
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