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Updated: May 19, 2025
Many, most actresses, join the stage with other ideas than of merely gaining a reasonably comfortable living wage. Pure ambition in some cases, vanity in others, are the motive-force, to say nothing of the numbers who may be regarded simply as stagestruck; and to such as these nothing seems worth striving for save to represent the triumphant heroine, the fascinating soubrette, or Lady Macbeth.
Balzac, though not stagestruck in the same degree as Charles Reade, had a great desire for success as a playwright; part of the desire may have been due to eagerness to make money with which to pay off those terrible debts. Yet in one biography of him no mention is made of his dramas.
She could see at once by his dark eyes and his pale intellectual face that he was a foreigner, the image of the photo she had of Martin Harvey, the matinee idol, only for the moustache which she preferred because she wasn't stagestruck like Winny Rippingham that wanted they two to always dress the same on account of a play but she could not see whether he had an aquiline nose or a slightly retroussé from where he was sitting.
Reade, we know, was absolutely stagestruck, and wrote dozens of plays and spent a great deal of money over them; indeed, it is not too much to say that his mania for the theatre seriously injured his work as a novelist. Yet who will pretend that any of the pieces that he concocted alone or in conjunction with others is worth the least valuable of his novels?
One can name a number of literary men of great rank who have written vainly for the stage, to say nothing of others who are authors of works in the form of drama, but nevertheless, like a Shelley, Swinburne or Longfellow, may not have been stagestruck.
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