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Updated: June 9, 2025
Extraordinary bravery on the part of an adversary was sometimes accounted for by asserting that he was the devil in the form of a man; as the Volscian soldier does with regard to Coriolanus. This is no mere dramatist's fancy, but a fixed belief of the times.
The reason good dialogue is seldom found in plays is merely that it is hard to write, for it requires not only a knowledge of what interests or excites, but such a feeling for character as brings misery to the dramatist's heart when his creations speak as they should not speak ashes to his mouth when they say things for the sake of saying them disgust when they are "smart."
The first is: To definitely set before the public that which it wishes to have set before it, the views and codes of life by which the public lives and in which it believes. This way is the most common, successful, and popular. It makes the dramatist's position sure, and not too obviously authoritative.
True, that is a rarely tender passage in the Winter's Tale wherein Hermione speaks with her beloved boy, and the pathos of Arthur's plea as he asks Hubert to spare his eyes is of course a masterpiece of literature; these, however, the sum total of the great dramatist's significant references to childhood.
He bade them ask themselves if these tricks of the trade, so to style them, were not due to the fact that the dramatist's art is a special art, having its own laws, its own conditions, its own conventions, inherent in the nature of the art itself.
But though the dramatist's jests are always serious and generally obvious, he is really affected from time to time by a certain spirit of which that climate theory is a case a spirit that can only be called one of senseless ingenuity. I suppose it is a sort of nemesis of wit; the skidding of a wheel in the height of its speed. Perhaps it is connected with the nomadic nature of his mind.
There is nothing of melodrama, nothing inconsequent, nothing exaggerated. It is the dramatist's preparation for his own end. Shakespeare put his valediction into the mouth of Prospero; Sophocles entrusted his to his greatest creation Oedipus. Like him, he was fain to depart, for the gods called.
Now the jewel has been the pattern young lady's mother's; and here comes an opening for that appeal to the filial love of Frenchmen which is never touched in vain. It is really a great and noble trait in the French character, that filial love, not too questionable to be demonstrative, 'tis a sure dramatist's French card, that appeal to the love of mothers and fathers by their children.
The dramatist's ideal, when finally presented to the public, resembles those mutilated marbles that decorate the museums of Rome and Naples. Only there is this difference: the public can easily imagine what the sculptor was about, but seldom the dramatist. Warrington was a young man, tolerably good-looking, noticeably well set up.
It might not be wholly fanciful to call music a sort of middle term between the two other arts. A great part of the secret of dramatic architecture lies in the one word "tension." To engender, maintain, suspend, heighten and resolve a state of tension that is the main object of the dramatist's craft. What do we mean by tension? Clearly a stretching out, a stretching forward, of the mind.
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