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Updated: May 14, 2025
The former appeals to irrational prejudice; the latter ignores what we shall presently find to be a fundamental principle of the playwright's art namely, that, with certain doubtful exceptions in the case of historical themes, he must never assume previous knowledge either of plot or character on the part of his public, but must always have in his mind's eye a first-night audience, which knows nothing but what he chooses to tell it.
After all, however, the essential question is not how much or how little is conveyed to us in the first act, but whether our interest is thoroughly aroused, and, what is of equal importance, skilfully carried forward. Before going more at large into this very important detail of the playwright's craft, it may be well to say something of the nature of dramatic interest in general.
Yet there were some which must be recalled with especial vividness as best exemplifying the scope of his genius and his general characteristics. Two of these parts, Werner and Melantius, were not Shakespearian creations, but they were at least devices of the poetical imagination, not of the mere playwright's handiwork.
Surely that was enough to fill and overflow any new playwright's mind, but, about half an hour after he had reached his room and set to work upon the manuscript of the second act, he discovered that he had retained, unawares, a singularly clear impression of Miss Malone.
Don't waste another dollar or another moment on my play it is madness. I am overwhelmed with my debt to you, but I shall repay it some day." Helen was more deeply hurt and humiliated by her playwright's flight than by the apparent failure of the play, but the two experiences coming together fairly stunned her.
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