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Updated: June 3, 2025
The extraordinary cleverness and accuracy of his observation of those petty details that make life a thing of shreds and patches were all that distinguished his method from that of the melodramatist who makes a scene out of a buzz-saw or a waterfall, a locomotive or a ferryboat. Oftentimes the contemporary playwright follows the method suggested by Mr.
But, on the other hand, it is evident that tragedy is inherently a higher type of art. The melodramatist exhibits merely what may happen; the tragedist exhibits what must happen. All that we ask of the author of melodrama is a momentary plausibility.
He must know that the process has not been quite so simple; but, leaving to others to say the things that all will say, he studies "supernaturalism as a source of income and a shield to privilege." Here again his instincts and methods as a melodramatist assert themselves: he warms to the struggle and plays his lash upon his conspiring priests in a mood of mingled duty and delight.
Of the melodramatist we require merely the negative virtue that he shall not lie: of the tragedist we require the positive virtue that he shall reveal some phase of the absolute, eternal Truth. The vast difference between merely saying something that is true and really saying something that gives a glimpse of the august and all-controlling Truth may be suggested by a verbal illustration.
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