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Updated: May 14, 2025
This feeling is intensified when he compares the thousands paid for a single hour of a prima donna's song or a playwright's wit with his own yearly wage laboriously earned. What supreme worth does art possess that it should be valued so disproportionately? Yet, sincere as this complaint is, it is largely misdirected; for art is not the extravagance which it may superficially seem to be.
This is not to say that the drawing-up of a tentative scenario ought not to be one of the playwright's first proceedings. Indeed, if he is able to dispense with a scenario on paper, it can only be because his mind is so clear, and so retentive of its own ideas, as to enable him to carry in his head, always ready for reference, a more or less detailed scheme.
Nine times out of ten they end in some petty compromise, or do not end at all, but simply subside, like the waves of the sea when the storm has blown itself out. It is the playwright's chief difficulty to find a crisis with an ending which satisfies at once his artistic conscience and the requirements of dramatic effect. And the difficulty becomes greater the nearer we approach to reality.
But how about the man with the waxed mustache?" "He'll praise me." "And slit the playwright's ears. Well, I will not complain. What will the 'Free Lance' do the one who accepts bribes and cares for his crippled daughter like an angel what will he do?" "Well, that depends. Do you know him?" "I do not, and don't care to.
This is a fair example of that ingenuity for ingenuity's sake which was once thought the very essence of the playwright's craft, but has long ago lost all attraction for intelligent audiences. We may take it as a rule that any scene which requires an obviously purposeful scenic arrangement is thereby discounted.
The playwright's tone settled the matter for Palmer. He was content. Said he: "Thank God she hasn't put in any of those dirty old tapestry rags and the banged up, broken furniture and the patched crockery." At the same time she had produced an effect of long tenancy. There was nothing that glittered, nothing with the offensive sheen of the brand new.
The worst thing about a tragedy is that the playwright's friends are pestered to read it and audiences tired by sitting it out. Aren't there tragedies enough in real life without men inventing 'em?" "Indeed, I can't say, sir." "I suppose not. You're not old enough. Tragedy doesn't come to the young and when it does they don't understand and perhaps 'tis as well.
Thirty years ago, the idea that it was possible to combine naturalness with vivacity and vigour had scarcely dawned upon the playwright's mind. Criticism has not given sufficient weight to the fact that English dramatic writing laboured for centuries and still labours to some degree under a historic misfortune.
In the days when tragedy and comedy were cast in fixed, conventional moulds, the playwright's task was much simpler. It was thoroughly understood that a tragedy ended with one or more deaths, a comedy with one or more marriages; so that the question of a strong or a weak ending did not arise. The end might be strongly or weakly led up to, but, in itself, it was fore-ordained.
But here at the fourth he has nearly grasped the secret of a successful play. While at the fifth Mercadet we are quite ready to cry "Bravo!" To Mercadet then we turn for the most striking example of the playwright's powers. Justice compels us to state, however, that another hand is present in the perfected play.
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