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Updated: June 28, 2025
Maxwell can make the play different from what it is, structurally, and I don't believe the character of Salome can be subdued or subordinated. Then why not play Salome as strongly as possible, and trust to her strength to enhance Haxard's effect, instead of weakening it?" Godolphin smiled towards Maxwell: "That was your idea."
If I can let Haxard's wretchedness be seen at last through the atmosphere of his daughter's happiness!" "Yes," she said, "that will be quite enough." She knew that they had talked up to the moment when he could best begin to work, and now left him to himself. Within a week he got the rehabilitated love-business in place, and the play ready to show to Godolphin again.
Of course it all has to transpire, all these facts, in the course of the dialogue which the two men have with each other in Haxard's library, after a good deal of fighting away from the inevitable identification on Haxard's part. After the first few preliminary words with the butler at the door before he goes in to find the other man his name is Greenshaw "
"Godolphin wouldn't stand that. He wants the gloom of Haxard's death to remain in unrelieved inkiness at the end. He wants the people to go away thinking of Godolphin, and how well he did the last gasp. He wouldn't stand any love business there. He would rather not have any in the play." "Very well, if you're going to be a slave to Godolphin "
I supposed you would have something light and graceful to occupy the house in the suspense between the points in Haxard's case. If I were to do him, I should be afraid that people would come back from Salome to him with more or less of an effort, I don't say they would, but that's the way it strikes me now; perhaps some one else would look at it quite differently."
"When Haxard dies, you know," he explained, "it would be tremendously effective to have the woman catch him in her arms, and she would be a splendid piece of color in the picture, with Haxard's head lying in her lap, as the curtain comes down with a run." At this suggestion Mrs.
I have got to throw away all the sin-interest, all the Haxard situation, or keep them together as they are, and write a new play altogether, with the light, semi-comic motive of the love-business for the motive of the whole. It's out of tone with Haxard's tragedy, and it can't be brought into keeping with it.
By the way," he said to the actor, "have you thought over that point about changing Haxard's crime, or the quality of it? I think it had better not be an intentional murder; that would kill the audience's sympathy with him from the start, don't you think? We had better have it what they call a rencontre down there, where two gentlemen propose to kill each other on sight.
Greenshaw's hold on him would be that he was the only witness of the fight, and that he could testify to a wilful murder if he chose. Haxard's real crime must be the killing of Greenshaw." "Yes," said Godolphin, and he entered into the discussion of the effect this point would have with the play. Mrs.
But since I have worked that love-business over, it seems to me much less a one-part play, and if I could get a manager to take a fancy to it I could have my own way with it much better; at least, he wouldn't want me to take all the good things out of the other characters' mouths and stuff them into Haxard's." "Do you really think so?" "I really thought so before I got Godolphin's letter.
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