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Updated: May 14, 2025
We must, in other words, believe that he dies because he cannot live, and not merely to suit the playwright's convenience and help him to an effective "curtain." As we review the series of Ibsen's modern plays, we cannot but feel that, though he did not shrink from death, he never employed it, except perhaps in his last melancholy effort, as a mere way of escape from a difficulty.
She despised her audience for their acceptance of the playwright's claptrap; she felt that she could do better than any of the actresses entrusted with the more important characters; her imagination was for ever turning to powerful scenes in plays she had studied privately, and despair possessed her at the thought that she would perhaps never have a chance of putting forth her strength.
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.
They spoke of French and Italian actors by name, laughed heartily over the playwright's conception of social usages, and made Mathilde feel as if her own unacknowledged enjoyment of the play was the guiltiest of secrets.
Compare each of these two stories with the two stories interwoven in the play, noting all the analogous passages and the use Shakespeare has made of them. Do Shakespeare's borrowed and additional archaisms and his confusion of names and places show carelessness? Is his continuation of the story merely a playwright's device to join the two parts of the plot and make a good stage piece end happily?
When the same eminent critic, however, went on to say that Ghosts was "a poetic treatment of the question of heredity," it was more difficult to follow him. Now that the flash and shock of the playwright's audacity are discounted, it is natural to ask ourselves whether, as a work of pure art, Ghosts stands high among Ibsen's writings.
The ingenious old playwright's memoirs are full of gossip concerning that poor old Venice, which is now no more; and the worthy autobiographer, Casanova, also gives much information about things that had best not be known.
He began a play, which was to be another great work, "Marcolini." He had no playwright's eye for situations, but the conversation is animated, and the characters finely drawn, with more discrimination than one would expect from so young an author. This work was interrupted at the end of Act III. by pressing calls to other studies. But it was not that he had forgotten Adèle.
They use quite commonplace idiom when they're excited." "Thanks," said the author, elaborately polite. "That's the big scene in the play. It'll be a knockout." When Harrietta tried to speak these lines in rehearsal she began to giggle and ended in throwing up the ridiculous part. They gave it to that little Frankie Langdon, and the playwright's prophecy came true.
His form is frankly farcical and his plays are so funny, so enjoyable merely as good shows that it seems a pity to raise an obelisk in the playwright's honour, and yet the fact remains that he understands the political, social, domestic, amorous, even cloacal conditions of the French better than any of his contemporaries, always excepting the aforementioned Mirbeau.
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