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Updated: May 14, 2025
As our culture increases, we more and more consistently adopt this attitude, and take pleasure in a playwright's marshalling of material in proportion to its absolute skill, even if that skill no longer produces its direct and pristine effect upon us. In many cases, indeed, our pleasure consists of a delicate blending of surprise with realized anticipation.
Breton, in his "Fantasticks," 1626, observes: "Milk, Butter and Cheese are the labourers dyet; and a pot of good Beer quickens his spirits." Norfolk dumplings were celebrated in John Day the playwright's time.
Those were the countries which just then furnished that strange mixture of inward savagery with outward civilisation, which is the immoral playwright's fittest material; because, while the inward savagery moves the passions of the audience, the outward civilisation brings the character near enough to them to give them a likeness of themselves in their worst moments, such as no 'Mystery of Cain' or 'Tragedy of Prometheus' can give.
And still the question remains: how much of this success is due to the playwright's skill or to the skill of the actors? How is it that in this play the actors obtain a fine result, act on a higher level, than in their realistic Sicilian tragedies? D'Annunzio is no doubt a better writer than Capuana or Verga, and his play is finer as literature than "Cavalleria Rusticana" or "Malia."
The student got back his gayety, during the second act. Alicia pressed up against him, slyly and nervously, and her restless curls produced little electric ticklings on his temples. When the play was done, the ovation broke out again, and the author once more appeared. Enrique's applause was only mild. For a moment he thought the playwright's eyes fell with avidity on Alicia.
This summary statement of the usual process may seem, perhaps, to cast excessive emphasis on the constructive phase of the playwright's problem; and allowance must of course be made for the divergent mental habits of individual authors.
I cite the case as a typical instance of the problem, apart from the merits or demerits of the solution. It may be said that the difficulty of bringing home to us the reality of a revulsion of feeling, or a radical change of mental attitude, is only a particular case of the playwright's general problem of convincingly externalizing inward conditions and processes.
"I can't follow your reckless campaigns." "We'll explain. We're not as reckless as we seem." They began to move towards the street, Hugh leading the way with the playwright's bag. Helen laughed at her lover's perplexity and dismay. "You look befoozled." "I am. I can't understand. After all that work and expense after all my toilsome grind my sacrifice of principles."
May he die worthy of himself and of us. Throughout the dimly lit room every one rose to his feet, incoherently echoing the last words of the speaker. . . . Still with the filmy wistfulness about his eyes and a tired, weary smile, Dick Durwent sat in his chair beating a listless tattoo on the table with his hand. From across the room came the sound of the old playwright's hacking cough.
A Playwright's Story By FRED M. WHITE "THAT," said Ethel Marsh judicially, "is the least stupid remark you have made during our five weeks' acquaintance." "Which means that I am improving," John Chesney murmured. "There is hope even for me. You cannot possibly understand how greatly I appreciate " The sentence trailed off incoherently as if the effort had been all too much.
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