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Updated: April 30, 2025
Think of our poor British dramatist compelled to write for a public that likes anecdotal plays, demands happy-ever-after endings and is easily shocked. Really his position is pitiful.
This, of course, is the so-called "happy-ever-after" ending: in most cases the comedies of this type are so artificial that few of the audience take sufficient interest in the characters to think of them as people who live after the play, and to notice the fact that the sweethearts are from their nature unlikely to live happily together, or that the young husband and wife, on account of their dispositions, are certain to quarrel within a week of the reconciliation.
The Beloved Vagabond had a great success as a novel; it enjoyed a London run as a play of about two months only. In the book the love-story is a minor matter, treated mainly with a sub-acid humour, and the author wisely avoids an absurd happy-ever-after conclusion.
A few years ago in a play that made a sensation came the worst example of the forced conventional "happy-ever-after" ending on record.
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